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INTPxODUCTION. 


The  importance  of  a  knowledge  of  the  theory  of  music  and  of  vocal  culture  is  conceded.  It  should 
be  taught — 

1.  As  a  physical  benefit.  It  demands  a  natural  position  of  the  body;  it  gives  muscular  strength 
and  vigor  to  the  throat;  it  promotes  proper  habits  of  breathing  and  calls  into  play  many  of  the  most  vital 
organs  of  the  human  body. 

2.  As  a  matter  of  courtesy.  You  owe  it  to  others  to  use  a  pure  tone  as  much  as  you  do  to  extend 
the  cheerful  greeting. 

3.  As  an  element  of  happiness.  Our  greatest  pleasure  consists  in  that  which  comes  back  to  us 
from  the  joy  we  have  given  to  others. 

4.  As  an  agency  of  moral  culture.     A  'pure  tone  will  attract  the  mind  to  purity  and  to  truth. 

5.  Because  it  is  inherent  in  our  perfect  nature.  A  healthy  child  will  use  the  fast  and  the  slow, 
the  high  and  the  low,  the  soft  and  the  loud,  with  natural  simplicity,  showing  the  very  embodiment  of 
music — viz.,  length,  pitch  and  power — in  its  very  nature. 

6.  Because  of  its  priceless  value.  No  instrument  capable  of  such  delicate  variety  and  harmony, 
so  pure,  sg  flexible,  as  the  voice,  was  ever  committed  to  human  care  and  management. 

7 '.  In  childhood.  The  years  of  childhood  are  the  most  propitious  time  in  which  to  attend  to  this 
pleasant  study.  It  is  in  those  years  that  nature  and  purity  so  materially  help  to  build  a  permanent 
foundation. 

8.  Because  of  its  beneficial  influence  upon  tasks  and  studies.  Music  will  make  the  home 
and  the  schoolroom  more  attractive  and  cheerful,  and  will  materially  help  to  lighten  the  tasks  and  the 
studies. 

The  aim  of  this  work  is  to  aid  the  student  in  obtaining  a  thorough  knowledge  of  the  science  of  music 
and  of  vocal  culture.  A  careful  examination  of  its  pages  will  convince  all  that  music  can  be  introduced 
into  the  home  and  be  successfully  taught  in  every  public  school  in  the  land. 

The  Author. 

3 


HINTS  TO  THE  STUDENT. 


Position.  The  student's'  position  should  be  erect,  shoulders  slightly  back,  chest  front,  head  raised, 
arms  in  natural  ease  at  the  side,  face  to  the  teacher,  etc. 

Sounds  are  produced  by  certain  numbers  of  vibrations,  distinguished  by  the  ear — for  instance,  rapping 
on  the  desk,  counting,  tapping  a  bell,  etc. 

Character  of  Sound  depends  on  difference  in  pitch,  volume,  resonance,  velocity,  etc..  according  to 
the  vibrating  body,  motion,  force,  etc.,  producing  the  sound. 

Pitch  of  Sound  depends  on  the  number  of  vibrations  communicated  to  the  air  in  a  given  time. 

Vibration  is  that  tremulous  motion  of  any  sonorous  body  by  which  the  sound  is  produced. 

Intensity  of  Sound.  Loudness,  intensity,  etc.,  are  in  proportion  to  the  freedom,  the  force,  etc.,  which  send 
forth  the  sound-waves,  the  density  through  which  they  pass,  and  the  proximity  of  the  auditor  to  their  source. 

Harmonious  Sounds.     Sounds  which  are  pleasing  or  agreeable  to  the  ear.     (Musical  sounds.) 

"Voice.     Audible  sound  made  by  the  breath  exhaled  by  the  mouth. 

Speech.  Words  uttered  in  connection  with  and  expressing  thought — i.  c,  the  faculty  of  explaining 
thought  by  articulate  sound. 

Singing.  Expressive  utterance  of  melodious  sound — ('.  e.,  breath  made  expressively  vocal ;  expressive 
utterances  of  sound,  combined  with  distinct  enunciation  and  pronunciation  of  syllables  and  of  words. 

Formation  of  Tones.  Tones  are  formed  by  even,  uninterrupted  vibration  of  some  sonorous  or  elastic 
body  in  contact  with  air. 

Quality  of  Tones.  Some  tones  are  more  sweet,  others  more  rich,  some  clear,  grave,  etc.,  according  to 
the  character  of  the  voice  or  the  instrument  producing  them. 

Music  as  a  Science  treats  of  certain  characters,  signs,  etc.,  which  are  symbols  of  harmonies — i.  ?., 
blending  emotions,  musical  thought — imparting  knowledge  of  the.  principle  of  constructing  melody,  and 
of  combination  to  produce  harmony. 

Music  as  an  Art  gives  true  and  correct  application,  and  teaches  the  proper  use  of  the  different  signs, 
characters,  etc.,  necessary  to  a  consistent  understanding  of  musical  ideas. 
-t 


MUSIC    AT    SIGHT. 


ELEMENTARY    DEPARTMENT. 


Lesson  I.- 

MELODICS. 

Music.  The  science  and  combination  of  harmo- 
nious sounds. 

Melody.  An  agreeable  succession  of  harmonious 
sounds. 

Harmony.  The  art  of  combining  sounds  so  as  to 
be  pleasing  to  the  ear. 

Tone.  A  musical  sound  (a  sound  which  is  pleas- 
ing to  the  ear). 

Example.  Let  one  of  the  pupils  imitate  the  teacher 
in  counting  in  a  conversational  tone,  One,  one,  one,  one, 
one,  one,  one,  one.  Let  all  the  pupils  count  with  the 
teacher,  clearly  and  distinctly  and  as  near  the  same  pitch 
as  possible.  Now  let  the  pupils,  or  some  of  them,  with  a 
pure  tone  sing  the  same  pitch  to  the  vowel  a,  as  in  father. 
Let  others,  or  all,  sing  a  number  of  times  the  same  tone 
to  this  same  vowel. 

Property.  Every  tone  has  three  essential  parts, 
viz. :  length,  pitch  and  power.  These  three  parts 
are  called  properties  of  a  tone. 

Note.  Repeat  the  preceding  example,  and  vary  the 
tone  iu  duration  to  the  motion  of  the  teacher's  hand — 
faster,  and  again  slower. 


-Melodies. 

TEACHER  AND  STUDENT. 

Q.  What  is  the  science  and  combination  of  har- 
monious sounds  called?        A.  Music. 

Q.  What  is  an  agreeable  succession  of  musical 
sounds  called  ?        A.  Melody. 

Q.  What  do  we  call  the  art  of  combining  sounds 
so  as  to  be  pleasing  to  the  ear  ?         .1.  Harmony. 

Q.  What  is  a  musical  sound  called?      A.  A  Tone. 

Q.  What  kind  of  a  sound  must  it  be? 

A.  An  agreeable  sound. 

Q.  What  difference  is  there  in  tones  as  to  character? 

A.  Some  tones  are  rich  and  clear,  others  more 
sweet,  grave,  etc. 

Q.  What  causes  this  difference? 

A.  The  character  of  the  voice  or  instrument  pro- 
ducing them. 

Q.  Which  is  the  more  perfect,  the  voice  or  the  in- 
strument? . 

A.  No  instrument  is  capable  of  such  delicate  vari- 
ety of  tone,  so  pure,  so  flexible,  as  the  voice. 

Q.  What  three  essential  parts  belong  to  every  tone  ? 

A.  Length,  Pitch  and  Power. 

Q.  What  are  these  called  ?    At  Properties  of  a  tone. 


6 


MUSIC  AT  SIGHT. 


Length.  The  space  of  time  during  which  any  tone 
exists.     A  tone  may  be  long  or  short. 

Note.  Let  one  of  the  pupils,  with  a  good  voice,  sound 
the  same  tour  again.  Eepeat  it  again,  and  sing  a  tone 
one  degree  higher,  using  the  same  vowel.  See  how  many 
of  the  other  pupils  can  sound  the  last  tone.  Sing  both 
tones  alternately.  Sing  each  tone  a  number  of  times  in 
succession.  They  will  notice  a  condition  of  existence,  or 
an  inherent  part,  called 

Pitch.  The  degree  of  gravity  or  acuteness  of  any 
tone.     A  tone  may  be  high  or  low. 

Note.  Repeat  the  foregoing  example,  or  add  other 
tones  ;  let  the  teacher  indicate  the  length  by  the  cpuick  or 
the  slow  motion  of  his  hand,  and  loudness  by  the  downward, 
and  softness  by  the  upward  movements.  Tin-  pupil  will 
readily  perceive 

Power.  The  degree  of  force  or  expression  with 
which  any  tone  is  made.    A  tone  may  be  loud  or  soft. 

Note.  It  is  to  be  understood  that  each  of  these  dis- 
tinctions, i.e.,  long  or  short,  high  or  low,  soft  or  loud,  are 
essential  conditions  of  existence,  or  inherent  property 
belonging  to  or  constituting  a  tone.  No  tone  could  exist 
without  them. 

Example.  Let  the  pupils  sing  to  the  syllable  La  a 
number  of  tones  different  in  length,  pitch  and  power, 
very  cheerfully.  Sing  again  to  words  like,  "  Christmas 
bells  we  love  to  hear.  Ringing  merrily  loud  and  clear." 
Now  sing  to  vowel  ".  like  in  bad,  or  to  words  like  "  Dark 
and  gloomy  is  the  night:  Banished;  not  a  ray  of  light,'' 
very  plaintively. 

Quality.  The  expression,  or  feeling,  with  which 
any  tone  is  made.  A  tone  may  be  cheerful  or  plaintive. 

Note.     Voices  differ  in  quality  of  tone  as  well  as  cer- 


Q.  How  may  tones  differ  from  one  another  ? 

A.  They  may  be  long  or  short. 

Q.  What  is  meant  by  this  ? 

A.  Length  (duration). 

Q.  Is  length  then  one  of  the  inherent  parts,  or 
one  of  the  conditions  of  existence  of  a  tone? 

A.  It  is. 

Q.  What  is  another  certain  property  perceived 
in  tones?        A.  They  may  be  high  or  low. 

Q.  What  is  this  condition  of  existence  called? 

A.  Pitch. 

Q.  Is  pitch  then  one  of  the  essential  parts  of  a 
tone,  as  well  as  length?  A.  It  is. 

Q.  Are  there  any  other  distinctions  ? 

A.  Loud  or  soft. 

Q.  What  is  this  called?     A.  Power,  or  Expression. 

Q.  Are  these  three — Length,  Pitch,  and  Power — 
necessary  parts  of  each  and  every  tone? 

A.  No  tone  could  exist  without  them. 

Q.  Are  there  not  other  distinctions  in  which  tones 
may  differ  from  each  other? 

A.  Sometimes  a  fourth  is  said  to  belong  to  a  tone. 

Q.   What  would  it  treat  of? 

A.  Of  a  difference  in  quality. 

Q.  Are  cheerful,  joyous,  and  again  more  sombre 
or  plaintive  tones,  different  in  quality? 

A.  They  are. 

Q.  Is  there  a  difference  in  the  quality  of  the  tone 
of  the  voice  as  in  the  tones  of  different  instruments, 
such  as  the  violin,  the  flute,  the  cornet,  etc.  ? 

A.  There  is. 


ELEMENTA  R  Y  I)  EPA  R  TMENT. 


tain  instruments,  like  the  violin,  the  flute,  the  eoruet, 
etc.  The  voice  may  produce  a  joyous,  cheerful,  or  again 
a  sombre,  plaintive  quality  of  tone.  We  will,  however, 
classify  Quality  of  tone  with  Power  or  Expression,  to 
which  it  properly  belongs. 

Departments.  These  main  divisions  of  properties 
of  a  time  are  called  Departments.  We  have  three 
departments,  as  there  are  three  distinct  divisions  of 
properties  to  he  treated. 

Rhythmics.     The  department  treating  of  Length. 

Melodies.      The   department  treating  of  Pitch. 

Dynamics.  The  department  treating  of  Power  or 
Expression. 

Xote.  Rhythmics,  from  the  Greek,  signifies  "to  flow," 
"  measured  movement,''  etc.  Melodies,  from  the  Greek, 
signifying  "a  song,"  "a  poem,''  "a  tune."  Dynamics, 
from  the  Greek,  means  "to  be  able,"  "power,"  "expres- 
sion," etc. 

(See  Practical  Department,  Lesson  [.} 


Q.   Why  are  these  different  qualities  of  tones  used  ? 

A.  In  order  to  give  the  proper  expression. 

Q.  Do  not  these  different  qualities  really  belong 
to  expression? 

A.  Quality  of  tone  is  included  in  the  same. 

Q.  What  are  these  main  divisions  of  properties 
called?         A.  Departments. 

Q.  How  many  departments  have  we?      A.  Three. 

Q.  What  is  the  department  treating  of  Length 
called?         A.  Rhythmics. 

Q.  What  is  the  department  treating  of  Pitch  called? 

A.  Melodies. 

Q.  What  the  one  treating  of  Power  or  Expression  ? 

A.  Dynamics. 

Q.  What  does  Rhythmics  signify? 

A.  To  flow,  measured  movement. 

Q.   What  does  Melodies  mean  ? 

A.  A  song,  a  poem,  a  tune. 

Q.  What  do  we  understand  by  Dynamics  ? 

A.  To  he  able,  power,  expression. 

Q.  From  what  language  are  the  names  of  these 
departments  taken  ?         A.  From  the  Greek. 


Lesson  II.— Rhythmics. 

TIME.  MEASURE,  ACCENT.  TEACHER  AND  STUDENT. 

Let  the  teacher  put  the  thumb  of  the  right  hand        Q.  If  a   number   of  singers   are  to  sing  together, 
upon  the  wrist  of  the  left,  at  the  point  where   the   what  have  we  to  regulate  the  measure  of  sound,  or 
pulse  beats;  count  to  the  duration  of  the  beats  in  a   period  of  duration? 
clear,  distinct  tone,   one,  two,   one,   two,  one,  two, !      A.  The  beating  of  the  pulse,  or  distinct  counting. 


MUSIC  AT  SIGHT. 


Close.     Any  double  bar,  with  a  short  one  added. 
Bar.  Double  Bar.  Bar.  Close. 

I    Measure.  I     Measure.     II     Measure.     I     Measure. 


one,  two,  etc.      The  pupils  do  the  same.       Notice/      Q.   What  does  the   beating  of  the  pulse,  or  dis- 

the  time  or  duration  of  each  count  or  beat.  tinct  counting,  denote  in  music? 

A.  Time. 
Time.     The  duration  ot  the  beating  of  the  pulse,        n   wl  ,t  .   •  ...... 

.   -  '  V-   "  hat  are  certain  perpendicular  lines  m  music 

or  distinct  counting,  measures  our  time.  called'7         A    Bars 

Bars.     Certain  perpendicular  lines  in  music.  Q-  What  the  certain  allotted  space  between  the 

,.  .       ..        ,  .  .     I  bars?        A.  Measure. 

Measure,     lhe  certain  allotted  space  between  the        r,    xm    ^  ^  ^  ,      ■, 

1  Q.  What  the  two  bars  together? 

A.  A  double  bar. 
Double   Bar.       Any  two  bars  together  (a  heavy  '      Q.  What  is  it  called  when  there  is  a  double  bar 
bar  is  sometimes  used  instead).  '  with  a  third  shorter  one  added? 

,A.  A  Close. 

Q.  What  does  a  bar  divide? 

A.  The  measure:;. 

Q.  What  does  a  double  bar  denote? 

A.  The  end  of  a  certain  stanza  or  strain. 

Q.  What  else? 

A.  Sometimes,  the  close  of  an  exercise. 

Q.   What  does  a  Close  show  ?         A.  The  end. 

Q.  What  are  the  certain  movements  of  the  right 

Accent.     A  certain   stress  of  voice  to  a  particular   hand  called?        A.  Beats  (beating  time). 

beat.  Q,   In  music  what  do  beats  indicate  to  the  eye? 

.  .      ,  ,,                  .                         .,  A.  The  movement  or  the  time. 

Note.     Accent  is  of  the  utmost  importance,  as  it  really  _    TTT,    ...,,..                  .■       ■      t             « 

..          ,         ....    ....  .       .,  *.              ,          '  Q.  What  is  that  certain  stress  of  voice  to  a  partic- 

regulates,  and   greatlv  facilitates,  the  keeping  ot  correct  H 

time  ular  beat  called?            A.  Accent. 

Q.  What  does  accent  do? 
Double  Measure.    Any  measure  having  two  counts       A    It  regulates,  and  greatly  facilitates,  the  lceep- 
or  beats,  one   a   Downward*  and  the  other  an  up-   •       nf  enrrect  tjme 
ward.  q    yy\mt  kind  of  measure  has  two  beats? 

A.   Double  measure. 

*  Capitals  indicate  the  beat  with  the  accent.  Q.   How  are  the  beats  made?        A.    Down  and  up. 


i 


Beats.  Certain  movements  of  the  right  hand,  in- 
dicating the  time  or  duration  to  the  eye  (beating 
time  i. 


ELEMENTA  R  Y  DEPARTMENT. 


Note.  Eaeh  beat  lias  a  rapid  motion,  whichever  di- 
rection it  is  made,  and  at  its  destination  has  a  short  stop 
or  rest.  The  aeeent  in  double  measure  belongs  to  the 
down  beat. 

Teacher  counts,  or  sings,  in  a  conversational  tone 
of  voice,  beating  time  and  accenting  the  down  beat ; 
thus : 

Down,  up,  Down,  up,  Down,  up,  Down,  up. 

Pupils  do  the  same.     Be  sure  to  have  as  nearly  a 
conversational  tone  as  possible,  and  all  in  unison. 

Triple  Measure.  A  measure  having  three  beats, 
down,  left  and  up.  The  accent  is  on  the  down 
beat. 

Teacher  counts,  or  sings,  the  same  as  before,  in 
triple  measure,  keeping  time  and  accent : 

Down,  left,  up,  Down,  left,  up,  Down,  left,  up,  I 

Down.  left.  up.  :       Pupils  do  the  same. 

Quadruple  Measure.  A  measure  having  four 
beats,  down,  left,  right  and  up.  In  Quadruple 
measure  the  main  accent  belongs  to  the  down, 
and  a  slight  one  to  the  right,  beat. 

Teacher  counts  or  sings  as  before,  in  quadruple 
measure,  keeping  correct  time  and  accent. 

Down,  left,  Right,  up,      Down,  left,  Right,  up, 

Down,  left,  Right,  up,     Down,  left,  Right,  up.   I! 
Pupils  do  the  same. 


Q.  Which  one  receives  the  accent? 

A.  The  downward  beat. 

Q.  How  must  the  movement  be  toward  its  desti- 
nation '?  A.  The  movement  must  be  rapid. 

Q.  What  is  done  at  its  destination  '? 

A.  A  short  rest  or  stop  is  made. 

Let  the  pupil  here  practice  the  beating  of  time  in 
double  measure.  Be  sure  and  see  that  there  is  no 
sluggish  motion,  either  downward  or  upward,  and 
see  that  the  hand  rests  or  comes  to  a  slight  stop  at  its 
destination. 

Q.  In  double  measure  is  the  accent  always  on  the 
down  beat? 

A.  It  must  be  on  the  down  beat. 

Q.  What  kind  of  measure  has  three  beats? 

A.  Triple  measure. 

Q.  How  are  the  beats  made?      A.  Down,  left.  up. 

Q.  Which  beat  receives*  the  accent  ? 

A.  The  down  beat. 

Q.  Is  the  duration  of  the  movement  of  the 
the  same  as  in  double  measure? 

A.  Yes ;    the    beating    of  the   pulse 
counting,  regulates  them  all. 

Q.  What  kind  of  measure  has  four  beats? 

A.  Quadruple  measure. 

Q.  How  are  the  beats  made  ? 

A.  Down,  left,  Right,  up. 

Q.  Which  beat  receives  the  main  accent? 
A.  The  down  beat. 

Q.   Which  receives  the  slight  accent? 
.1.  The  right  beat. 


beat 
distinct 


10  MUSIC  ATSfGHT. 


Sextuple  Measure.     A  measure  having  six  beats,        Q.  What  kind  of  measure  is  usually  designated  by 

Down,  down,  down,  Up,  up,  up.  two  beats,  calculating  three  rapid  beats  to  each  one 

This  kind  of  time  is  usually  designated  by  only  of  the  two?  A.  Sextuple  measure, 

two  beats,   down,  up ;    the  three  down  beats  being        9-  How  are  the  two  beats  made? 
considered  as  one,   and   the  three  up  beats  as  the       -A-  Down  and  Up. 

other,    to    the   same    duration    as    iu  double   time.        Q-  Which  receive  the  accent?        A.  Both  beats. 
The  accent  is  given   to  both  beats,  the  down  and        Q-  Would  these  two  beats  have  the  same  duration 

the  up.  ]  as  in  double  time?  A.  The  same. 

This   kind   of    measure   is   known    as   compound        <?•  What  is  this  kind  of  measure  sometimes  called? 
double  measure  y'-  Compound  double  measure. 

Teacher  counts  or   sings  as    before,  in    Sextuple        Q-  Is   this  kind   of  timt?  alw;l-vs  made  with   two 

measure.     Pupils  do  the  same.  I  Deats  • 

A.  Six  beats  are  generally  used  when  the  time 
required  is  very  slow. 

Q.  What  usually  regulates  our  movement,  denot- 
ing whether  it  is  to  be  slow  or  fast? 

A.  The  words  will  indicate  the  movement  and 
regulate  our  time  in  vocal  music. 


Down,    .    .  *^p    .    .       Down,    .    .    Up    .    . 

Notice,  ifwwe  would  make  six  beats  in  sextuple 
measure,  we  would  have  to  make  the  beats  three 
times  as  fast  as  in  double  measure. 

Compound  Triple  Measure.     Sometimes  a  kind  of 


</.  How  can  the  words  regulate  the  movement? 
time  is  used  with  three  beats,  each  beat  being  ac- ;      A    We  must  sh     fagt  ()r  slow  according  to  the  ex 


cented ;    it    is  known   as  compound  triple  measure. 


pression  of  the  words. 


This  kind  of  time  is   indicated   by  the  figure  9,  and  q    How  d(J  we  ugually  beat  the  time  indicated  by 

considered  as  by  sextuple  time,  three  rapid  motions  !  tj     fj0.ure  g 

to  each  of  the  -three  beats.  A  °By  three  bpats>  Hke  tri|lle  m,,.lslm.. 

Compound  Quadruple  Measure.     Another  kind  of  Q.  Which  are  accented  ?  A.  All  three, 

time  is  sometimes  used  with   four  beats,  like  quad-'  V-  What  is  this  kind  of  time  called? 

ruple  measure,  only  an   accent  is  given  to  each  of  I  A.  Compound  triple  measure, 

the   four;    this    is    known    as    compound   quadruple!  Q.  By  what  other  name  is  it  sometimes  known? 

time  and  is  indicated  by  the  figure  12.     This  meas-  A.  Nine-eight  time, 

ure,  like  sextuple  and  the  preceding  time,  comprises  V-  What  is  indicated  by  the  figure  12? 

three  beats  iu  one.  j  A.  Compound  quadruple  measure. 


ELEMENTARY  DEPARTMENT. 


1 


Note.  Sometimes  all  three  of  the  preceding  kinds  of 
time  are  kept  to  the  full  number  of  their  beats,  rii.,  six 
beats  in  sextuple  time,  etc.  This  is,  however,  only  the 
ease  where  the  movement  is  required  to  be  very  slow. 

Illustration.  The  following  Cuts  will  indicate  the 
movement  of  the  beats  in  the  different  kinds  of 
time. 


Q.  By  what  other.name  is  it  sometimes  known? 
A.  Twelve-eigh'ttime. 

Q.  How  many  beats'  are  usually  given  to  the  same? 
A.  Four  beats,  like  quadruple  measure. 
Q.  Which  beats  receive  the  accent?     A.  All  four. 
Q.  How  should  the  beats  in  all  the  different  kinds 
of  time  be  made?  A.  Promptly. 

V  time. 


Dnuble  Triple  Quadruple  Sextuple  'time  V  time 

Measure.  Measure.  Measure.  Measure.  s      ^^  *      ^^ 

1  beats.  3  beats.  4  beats.         6  into  2  beats.  W     I  m    J 


(Practice  Lesson  IL,  Practical  Department.) 

Lesson  III.- 

NOTES. 

The  length  of  tones  is  distinguished  by  the  ear, 
in  hearing ;  and  is  made  manifest  to  the  eye  by 
certain  characters,  visible  signs  or  tokens. 

Notes.  Characters  representing  the  length  or 
duration  of  musical  sounds. 

i 
We  cannot  tell  by  a  note  alone  how  high  or  how 
low  to  sing,  neither  can  we  tell  how  soft  or  how  loud 
to  sound  a  tone;  we  can  simply  tell  the  length  or 
duration  of  some  certain  tone. 


3  beats.  4  beats. 

Rhythmics. 

TEACHER  AND  STUDENT. 

Q.  To  what  department  did  our  preceding  lesson 
belong  ?  A.  Rhythmics. 

Q.  How  do  we  know  that  it  belonged  to  Rhyth- 
mics? A.  The  subject  was  length. 

Q.  What  does  our  present  lesson  treat  of? 

A.  The  same:  the  first  department,  Rhythmics. 

Q.  What  is  the  property  in  this  department? 

A.   Length. 

Q.  How  is  length  of  tones  distinguished? 

A.  Both  by  the  ear  and  to  the  eye. 

Q.  How  by  the  ear?         A.  By  hearing  the  same. 

Q.  How  to  the  eye?  A.  By  certain  characters. 


12 


MUSIC  AT  SIGHT. 


Sing-  to  vowel  a,  as  in  father,  about  -as  fast  as  dis- 
tinct counting,  in  a  conversational  tone  of  voice. 

a,  a,         a,         a,  a,  a,  a,  a. 

This  duration  to  distinct  counting,  or  the  beating 
of  the  pulse,  is  indicated  by  characters  like  the  fol- 
lowing : 

Quarter  Notes. 


r  r  r  r  '  d  '  •  r  r  r 


,  ,  .  J  J  J  J 


A  quarter  note  is  distinguished  by  a  closed  head 
and  a  stem.  It  makes  no  difference  whether  the 
stem  is  turned  down  or  up. 

A  character  representing  twice  the  length  of  a 
quarter  note  is  called  a 

Half  Note. 

A  half  note  is  known  by  an  open  head  and  a  stem. 

A  character  representing  four  times  the  value  of  a 
quarter  note,  or  which  is  twice  as  long  as  a  half  note, 
is  called  a 

Whole  Note. 
A  whole  note  is  distinguished  by  an  open  head. 


<L>.  What  are  these  certain  characters  representing 
;  length  or  duration  called  ?  A.  Notes. 

Q.  Can  we  tell  by  a  note  alone  how  high  or  low 
to  make  the  tone? 

A.  We  cannot  tell  the  pitch. 

Q.  Can  we  tell  by  a  note  alone  how  soft  or  loud  to 
,  sing? 

A.  We.  cannot. 

Q.  What  does  a  note  simply  represent? 

A.  Length. 

Q.  What  kind  of  a  note  represents  the  length  or 
duration  of  distinct  counting? 

A.  A  Quarter  note. 

Q.  How  can  we  tell  a  quarter  note  ? 

A.  By  a  closed  head  and  a  stem. 

Q.  Does  it  make  any  difference  whether  the  stem 
is  turned  down  or  up? 

A.  It  makes  no  difference. 

Q.  What  kind  of  a  note  represents  twice  the 
length  or  duration  of  a  quarter  note  ? 

A.  A  Half  note. 

Q.  How  can  we  tell  a  half  note? 

A.  By  an  open  head  and  a  stem. 

Q.  What  kind  of  a  note  is  four  times  the  value  of 
a  quarter  note  ? 

A.  A  Whole  note. 

Q.  How  can  we  tell  a  whole  note? 

A.  By  an  open  head. 

Q.  How  many  half  notes  equal  the  value  of  a 
whole  note? 

A.  Two. 


ELEMENTA  R  Y  DEPA  R  TMEXT.                                                         13 

jm     ■£_  

A  note  showing  one-half  the  duration  of  a  quarter  Q.  What  kind   of  a   note  shows  one-half  the  dura- 
is  called  an  tion  of  a  quarter? 

Eighth  Note.  .4.  An  Eighth  note. ' 

^       P»     JN      h                                   ^n  Q-  How  can  we  tell  an  eighth  note? 

V    v    v     /                    Cm  ^-  ^n     eighth     note     is    distinguished     by    one 

An  eighth  note  is  known  by  one  hook.     No  mat-  hook, 

ter  whether  they  are  separate  or  connected  together  Q-  Does  it  matter  if  they  are  separate  or  grouped 

in  groups.         .  together  ? 

A  note  representing  one-fourth  the  duration  of  a  A-  lt  makes  n0  difference, 

quarter  note  is  called  a  §■  ^ow  maa>'  eighth  notes  would  have  to  be  con- 

I  sidered  to  one  count  or  beat,  representing  the  time 


Sixteenth  Note.  of  quarter  notes  ? 

J      U      U      U  A.  Two  eighth  notes. 

J         J         W         J^  P      P      P      P         «^J         P      0  s\ 

**"*        V    V    ^    V      *    *      bjJ  Q.  What  kind  of  notes   represent  one-fourth  the 

A  sixteenth  note  has  two  hooks.  duration  of  quarter  notes ? 

....          ,  ,           A.  Sixteenth  notes? 

A    note   representing   one-eighth  the  value  ot    a        ,-,    „               .    .       in        .      .          ,., 

.    .       „   ,  °  V.  How  are  sixteenth  notes  formed? 

quarter  note  is  called  a  .    tIT.  ,   ,       ,      , 

1  A.  With  two  hooks. 

Thirty-second  Note.  Q-  How  many  of  them  would  we  sing  to  the  dura- 

y      s,  SSB^SS  tion  of  one  quarter  note? 

R      fc  i      i      i  A.  Four. 

s    u  ^^^™^™  Q-  What  kind  of  notes  represent  one-eighth  the 

C     <•  SSS^S  duration  of  quarters? 

Thirty-second  notes  have  three  hooks.  j.  Thirtv-second  notes. 

The  value  of  these  notes  may  be  prolonged  to  the       Q-  How  many  hooks  have  they  ? 
amount  of  one-half  their  value  by  adding  a  dot.  A.  Three  hooks. 

Q.  How  may  the  value  of  either  of  these  notes  be 
prolonged  to  the  amount  of  one-half? 
A.  By  adding  a  dot. 
Q.  What  would  they  be  called? 
A.  Dotted  notes. 


Dotted 

Notes. 

A«s 

•  equa 

lsd    ^    J. 

a    J  .     equals 

i      i 
0     0 

I 

4> 

■  J" 

equals 

f    'N     1"      a 
•    •    4       a 

J  .   equals 

} 

• 

0  ' 

14 


MUSIC  AT  SIOHT. 


The  duration  represented  may  again  be  prolonged 
to  the  amount  of  one-fourth  of  the  original  note,  in 
addition  to  the  dot,  bv  adding  a  seeond  dot. 


Double  Dotted  Notes. 

equals  J  J  J  J,  a^j..    equals  J 


I     I     l«\ 

4  4  4  ' 
\ 
S  ^  \  N 
equals  >  Jv  JN  JV 


,    >  ^  ^  ^ 

a  J.,   equals  J     J     J     J\  ^  ..   ^u*.^^- 

Any  three  notes  grouped  together  (or  the  value  of 
any  three  represented),  with  the  figure  3  above  or 
under  them,  are  called 


Triplets. 
jNjsjv  equai  js  jv]  a  j    j\  equa 


f\    is 

e     4  ■ 


Triplets  represent  the  duration  of  two  of  the  same 
kind. 


Q.  How  may  the  duration  represented  by  a  note 
be  still  more  increased? 

A.  By  adding  a  second  dot. 

Q.  What  length  does  the  second  dot  represent? 

A.  One-fourth  of  the  original  note. 

Q.   What  would  a  note  with  two  dots  be  called? 

A.  A  double  dotted  note. 

Q.  What  are  any  three  notes  grouped  together, 
with  the  figure  3  above  or  below  them,  called  ? 

A.  Triplets. 

Q.  What  value  do  they  represent? 

A.  The  duration  of  two  of  the  same  kinu. 

Q.  Would  a  quarter  and  an  eighth  note  also  be 
triplets? 

A.  Yes. 


Table  showing  the  different  kinds  of  Notes,  and  their  relative  values. 


J 


& 


0  0^ 


* 


t 


J* 


^ 


J* 


J* 


J* 


J* 


0^        0^ 


0^0^  0^0^  0^0^  0^0y  0^0y  0^0^  0^0^  0^0^  0^0^  0^0^  0y0^  0^0^  0   0^  0^0^  0^0     0    0 


{See  Practical  Department,  Lesson  III.) 


ELEMENTA  R  Y  DEPA  R  TMEXT. 


15 


Lesson  IV.- 

RESTS. 

As  we  have  characters  (notes)  to  represent  the 
length  or  duration  of  certain  tones,  we  must  also 
have  marks  or  signs  to  represent  the  corresponding 
length  or  duration  of  silence. 

Characters  representing  certain  durations  of  si- 
lence are  called  Rests. 

A  character  under  the  line  is  called  a 

Whole  Rest. 

A  whole  rest  represents  the  same  duration  of  time 
that  a  whole  note,  or  a  certain  tone,  does. 

Note.  A  peculiarity  of  the  whole  rest  is  that,  beside 
the  above,  it  also  represents  a  whole  measure  of  sileuce, 
no  matter  what  kind  of  measure  we  may  have. 

A  character  placed  above  the  line  is  called  a 

Half  Rest. 

A  half  rest  represents  the  corresponding  duration 
that  a  half  note  does. 

A  character  turned  to  the  right  is  called  a 

Quarter  Rest. 

Also  the  following  form  is  sometimes  used. 

A  quarter  rest  represents  the  same  duration  as  a 
quarter  note. 


Rhythmics. 

TEACHER  AND  STUDENT. 

Q.  In  what  department  are  we  now  studying? 

A.  Rhythmics. 

Q.  What  is  the  property? 

A.  Length. 

Q.  What  are  certain  characters  representing  si- 
lence called  ?  A.  Rests. 

Q.  Do  the  different  rests  represent  the  same  dura- 
tion of  silence  that  their  corresponding  notes  do  of 
certain  tones?  A.  Yes. 

Q.  How  can  we  tell  a  whole  rest? 

A.  It  is  placed  under  the  line. 

Q.  Does  a  whole  rest  represent  the  same  length  as 
a  whole  note.  A.  It  does. 

Q.   What  is  a  peculiarity  of  the  whole  rest? 

A.  It  also  represents  a  whole  measure  rest. 

Q.  Does  it  make  any  difference  what  kind  of 
measure  we  have  ? 

A.  It  makes  no  difference. 

Q.  How  can  we  tell  a  half  rest  ? 

A.  It  is  placed  above  the  line. 

Q.  Does  a  half  rest  represent  the  same  duration 
that  its  corresponding  note  does? 

A.  The  same. 

Q.  How  can  we  tell  a  quarter  rest? 

A.  A  quarter  rest  is  turned  to  the  right. 

Q.  What  other  form  is  sometimes  used  ? 

A.  The  top  turned  to  the  right  and  the  bottom  to 
the  left. 


1*5 


MUSIC  AT  SIGHT. 


A  character  turned  to  the  left  is  called  an 
Eighth  Rest. 

An  eighth  rest  represents  the  same  length,  or  dura- 
tion, as  its  corresponding  eighth  note. 

A  character  formed  with  two  hooks  is  called  a 

Sixteenth  Rest. 

A   sixteenth   rest  is  equal  in  duration  to  its  cor- 
responding note. 

A  character  distinguished  by  three  hooks  is  called  a 

Thirty-second  Rest. 


Thirty-second  rests  equal  the  duration  of  thirty- 
second  notes. 

Dotted  rests  may  also  be  used,  and  are  equal  in 
duration  to  their  corresponding  dotted  notes. 


Q.  Does  a  quarter  rest  represent  the  same  duration 
as  a  quarter  note? 

A.  Yes. 

Q.  How  can  we  tell  an  eighth  rest? 

A.  An  eighth  rest  is  turned  to  the  left. 

Q.  Does  an  eighth  rest  represent  the  same  dura- 
tion as  its  corresponding  eighth  note? 

A.  It  does. 

Q.  How  is  a  sixteenth  rest  formed? 

A.  A  sixteenth  rest  has  two  hooks. 

Q.  Is  its  duration  the  same  as  a  sixteenth  note? 

A.  It  is. 

Q.  How  can  we  tell  a  thirty-second  rest? 

A.  It  is  distinguished  by  three  hooks. 

Q.  Does  a  thirty-second  rest  represent  the  same 
length  as  a  thirty-second  note  ? 

.1.   It  is  the  same  length. 

Q.  Are  there  ever  any  dotted  rests  used? 

A.  Yes;  some  of  them  may  be  used. 

Q.  What  would  their  duration  be? 

A.  The  same  as  their  corresponding  notes. 


Table  showing  the  comparative  Values  of  the  different  Rests. 


**.  1 


H   1  *4   1   **■   r   *( 


[See  Practical  Department,  Lesson  TV.) 


ELEMENTARY  DEPARTMENT. 


17 


Lesson  V.— 

TIME  MARKS. 

In  order  to  indicate  at  a  glance  the  kind  of  meas- 
ure and  the  variety  of  time  given  we  use 

Time  Marks.  Figures  set  in  the  form  effractions. 
The  upper  figure,  or  the  enumerator,  tells  the  kind 
of  time,  or  how  many  counts  or  beats  we  have  to  the 
measure  ;  thus, 

Kinds  of  Time. 

2         3         4         6         9         12 

The  lower  figure,  or  the  denominator,  tells  the 
variety  of  measure,  the  duration  of  what  kind  of  a 
note,  or  the  equal  of  which  is  to  be  considered  to  a 
point  or  beat ;  thus, 

Variety  of  Time. 

4         8         2         4         8         2 

The  following  shows  the  table  of  time-marks  in 
common  use : 

Varieties  of   Double  Measure. 

2  2  2 

2  4  8 

represent  the  different  varieties  of  double  time,  and 
each  measure  receives  two  beats. 

Varieties  of  Triple  Measure. 

3  3  3 

2  4  8 

show  the  different  varieties  of  triple  time,  and  each 
measure  receives  three  beats. 
2 


Rhthymics. 

TEACHER  AND  STUDENT. 

Q.  What  have   we   to  indicate    at  a  glance   the 
kind,  or  the  variety,  of  time  or  measure  we  have? 
A.  Time  marks. 

Q.  What  represents  or  forms  our  time  marks  ? 
A.  Figures  set  in  the  form  of  fractions. 

Q.  Which  figure  represents  the  kind  of  measure, ' 
or  how  many  points  or  beats  we  have? 
A.  The  upper  figure,  or  the  enumerator. 

Q.  Which  figure  represents  the  variety  of  measure, 
or  what  duration  is  given  to  a  point  or  beat? 
A.  The  lower  figure,  or  the  denominator. 
Q.  What  varieties  of  double  measure  have  we  ? 

^222 
2"  4  8' 

Q.  Will  each  of  these  three  varieties  receive  two 
beats  to  the  measure  ? 
A.  Yes. 

Q.  What   varieties  of  triple  measure    have  we  in 
common  use? 

^333 

'  2'  4  8 

Q.  Will  each  of  these  varieties  receive  three  beats 
to  the  measure  ? 

A.  Yes;  they  all  receive  three  beats. 


18 


MUSIC  AT  SIGHT. 


Varieties  of  Quadruple  Measure. 


4 

2 


4 
4 


4 

8 


indicate   the  different  varieties   of  quadruple  time, 
and  each  measure  receives  four  beats. 

The  above  three  different  kinds  of  time  or  measure 
are  known  as  common  time. 

The    following   are    the   varieties    of    Compound 
Time: 


Sextuple  Measure. 

and 


6 

8 


indicate    the    usual    varieties   of   sextuple   time,  or 
also 

Compound  Double  Measure. 

Two   accented   beats   are    usually   given   to   each 
measure.     (See  note  on  p.  19.) 


Varieties  of  Compound  Triple  Measure. 

■lnd 

4       and       8 

indicate  the  usual  varieties  of  compound  triple  time. 
Each  measure  receives  three  accented  beats.  (See 
note  on  p.  19. 1 


Q.  What  varieties  of  quadruple  measure  have  we 
in  common  use. 

^444 

A.  2.    4,    g. 

Q.  Will  each  of  these  receive  four  points  or  beats? 

A.  They  all  receive  four  beats. 

Q.  Are  the  beats,  or  rather  the  duration  of  the 
counts,  points  or  beats,  to  all  the  above  varieties  the 
same  ? 

A.  The  duration  is  the  same;  it  is  all  guided  by 
the  beating  of  the  pulse  of  a  healthy  person,  or  the 
time  of  distinct  counting. 

Q.  What  other  kind  of  time  have  we? 

A.  Compound  time. 

Q.  What  varieties  of  Compound  Double  measure 
have  we  ? 

A     6     and    6 

'  4  8' 

Q.  How  many  beats  are  usually  given  to  each 
measure? 

A.  Two  accented  beats. 

Q.  By  what  other  name  is  this  kind  of  time 
known? 

A.  Sextuple  measure. 

Q.  What  varieties  of  Compound  Triple  measure 
have  we? 

A.  ?  and    §. 
4  8 

Q.  How   many  beats   are   usually  given  to   each 

measure  ? 

A,  Three  accented  beats. 


ELEMENT  A  R  Y  DEPA  R  TMEXT. 


19 


Varieties  of  Compound  Quadruple  Measure. 

.     'I     -     'I 

Each  measure  receives  four  accented  beats.* 


Difference  in  Varieties  of  Measure. 

There  is  no  difference  to  the  ear  in  varieties  of 
measure :  the  difference  is  only  seemingly  so  to  the 
eye.  We  would  sing  a  tune  just  as  fast,  in  regard  to 
the  duration  of  the  counts  or  beats,  no  matter  what 
length  is  indicated  by  the  lower  figure.    Thus,  a  tune 

written  in  one  book  in  Q  time,  in  another  book  in  V, 

Q  Z  .4 

and  in  a  third  in  Q  time,  would   all  be  sung  alike, 

o 
being  in  all  three  books  in  triple  time,  only  in  a  dif- 
ferent variety. 

Note.  There  are  certain  signs  and  marks,  as  well  as 
the  words,  to  indicate  the  movement,  whether  the  same 
be  fast  or  slow,  which,  however,  will  be  explained  in  les- 
sons further  on.  It  may  also  be  stated  here  that  one  of 
the  best  guides,  and  the  surest  indication  of  correct  move- 
ment in  vocal  music,  is  the  words :  or  rather,  the  expres- 
sion needed  to  bring  out  the  beauty  and  the  soul  of 
poetry. 

*  Note  that  in  all  the  varieties  in  compound  time 
there  may  sometimes  be  the  full  number  of  beats  needed, 
as  indicated  by  the  upper  figure,  but  as  this  is  already  ex- 
plained in  Lesson  II,  it  is  not  necessary  further  to  dwell 
on  the  same. 


Q  How  many  varieties  of  Compound  Quadruple 
measure  have  we? 

j    12  .lmi   12 
A.    4    and    g. 

Q.  How  many  beats  are  usually  given  to  each 
measure?  A.  Four  accented  beats. 

Q.  Is  there  any  difference  in  regard  to  varieties 
of  measure?         A.  There  is  no  difference  to  the  ear. 

Q.  Is  there  any  difference  to  the  eye? 

A.  There  is  only  an  apparent  difference ;  none  in 
reality. 

Q.  Would   a  tune   be   sung  just  as  fast,  whether 

written  in  9     V,    or     j?    time? 
2     4  8 

A.  It  would  be  alike  in  all  three  varieties. 

Q.  How  can  we  tell  whether  to  sing  a  tune  fast  or 
slow  ? 

A.  The  words  will  indicate  the  movement. 

Q.  What  must  we  try  to  observe  at  all  times  in 
regard  to  movement  in  vocal  music? 

A.  We  must  aim  to  bring  out  the  best  expression 
needed  by  the  words. 

Q.  Will  the  expression  regulate  our  movement  ? 

A.  It  must  guide  the  same. 

Q.  Are  there  any  other  marks  or  signs  to  indicate 
whether  to  sing  fast  or  slow  ?  A.  Yes. 

Q.  Are  they  explained  in  this  lesson  ?         A.  No. 

Q.  In  these  different  varieties  oJ'  compound  time 
are  not  the  number  of  beats  sometimes  given,  as 
indicated  by  the  upper  figure? 

A.  Yes.     (See  Lesson  II.) 


20 


MUSIC  AT  SIGHT. 


Table  of  Varieties  of  Measure  in  common  use. 


Common  Time. 


2 

3 

4 

2' 

2' 

2 

2 

3 

4 

4 

4 

4 

2 

3 

4 

8' 

8' 

8 

6 
4' 


(See  Practical  Department,  Lesson  V.) 


Compound  Time. 
9 

4' 


9 

8" 


A  2 
4 


12 

8' 


Lesson  VI. 


SCALE. 


Like  the  carpenter  who  finds  his  foot-rule  of  im- 
portance to  guide  him  in  exact  measurement,  so  in 
music  we  have  a  guide  to  ascertain  the  difference  in 
pitch. 

As  we  find  it  of  great  convenience  to  use  steps 
and  ladders  in  ascending  and  descending,  so  in  mu- 
sic we  have  a  certain  ladder  to  aid  us  in  sounding 
the  pitches  higher  or  lower. 

This  musical  rule,  or  ladder,  consists  of  a  series 
of  eight  tones,  ascending  and  descending  in  regular 
order,  called  the  Scale  (graduation  ladder.  German, 
"Tone  Leiter,"  Tone  Ladder.) 

The  true  progression  is  in  a  certain  natural  grade ; 
not  natural  because  it  seems  so  to  the  voice,  for  the 
voice  can  sound  any  tone  progression  within  its  com- 
pass ;  but  natural  because  this  graduation  is  an  in- 
herent part  of  the  scale. 


Melodies. 

TEACHER  AND  STUDENT. 


ruide 


in    music   to 
A.  We  have. 


ascertain 


Q.  Have   we   any 
differences  in  pitch  ? 

Q.  How  is  it  formed? 

A.  Like  a  ladder. 

Q.  How  can  this  musical  ladder  be  of  use  to  the 
student? 

A.  It  will  aid  him  in  sounding  the  pitches  higher 
or  lower. 

Q.  In  what  way  ? 

A.  In  finding  the  difference  in  pitch  between  any 
two  tones. 

Q.  Of  how  many  tones  does  this  musical  ladder 
consist?  A.  Eight. 

Q.  How  are  these  tones  arranged? 

A.  Ascending  and  descending  in  regular  order. 

Q.  What  is  this  series  of  eight  tones,  ascending 
and  descending  in  regular  order,  called? 

A.  The  Scale. 


ELEMENT  A  R  Y  DEPA  R  TMEXT. 


21 


Diatonic  Scale.  The  word  Diatonic  means  "  natu- 
ral."" 

Names  of  the  Tones  of  the  Diatonic  Scale.     The 

tone?  of  the  diatonic  scale  are  named  from  the  lower 
upward  ;  thus,  One,  Two,  Three,  Four,  Five,  Six, 
Seven,  Eight. 

Xote.  The  eighth  tone  forms  again  the  first  of  a  next 
higher  ascending  scale,  and  as  it  might  be  the  cause  of 
considerable  confusion  we  will  avoid  it  hy  omitting  eight 
altogether,  and  use  in  its  place  one,  which  it  really  is. 

Interval.  The  difference  in  pitch  between  any 
two  tones  of  the  scale  is  an  Interval.  These  inter- 
vals being  found  between  the  tones  of  the  diatonic 
scale,  are 

Diatonic  Intervals.  The  difference  between  each 
of  the  eight  tones  of  the  scale  being  an  interval, 
gives  us  seven  intervals  in  the  diatonic  scale. 

It  will  be  noticed  by  sounding  the  tones  that  these 
intervals  are  not  alike ;  some  are  larger  than  others. 

Steps.  The  larger  intervals  of  the  diatonic  scale 
are  Steps. 

Half  Steps.     The  smaller  ones  are  Half  Steps. 

Five  of  these  seven  intervals  are  steps,  and  the 
other  two  half  steps. 


Q.  What  is  the  name  of  this  scale  '? 

A.  Diatonic  scale. 

Q.  What  does  the  word  diatonic  mean? 

A.  Natural. 

Q.  How  are  the  tones  of  the  diatonic  scale  named  ? 

A.  From  the  lower  upward. 

Q.  What  are  the  tones  ? 

A.  One,  Two,  Three,  Four,  Five,  Six,  .Seven,  Eight. 

Q.  What  peculiarity  is  there  about  the  eighth  tone? 

A.  It  forms  again  the  first  tone  of  the  next  higher 
ascending  scale. 

Q.  How  is  this  confusion  avoided? 

A.  By  calling  it  tone  one,  and  omitting  the  term 
eight  altogether. 

Q.  Would  this  be  right? 

A.  Yes;  it  really  is  tone  one. 

Q.  What  is  the  difference  in  pitch  between  any 
two  tones  of  the  scale  called  ?  A.  An  Interval. 

Q.  These  intervals  being  formed  between  the  tones 
of  the  diatonic  scale  are  therefore  what  kind  of  in- 
tervals? A.  Diatonic  intervals. 

Q.  If  there  are  eight  tones  of  the  diatonic  scale, 
and  the  difference  in  pitch  between  each  being  an 
interval,  how  many  intervals  have  we?       A.  Seven. 

Q.  Are  these  seven  intervals  all  alike? 

A.  No;  some  are  large,  others  small. 

Q.  What  are  the  larger  ones  called?         A.  Steps. 

Q.  The  smaller?  A.  Half  steps. 

Q.  How  many  steps  have  we?  A.  Five. 

Q.  How  many  half  steps? 

A.  Two. 


22 


MUSIC  AT  SIGHT. 


The  half  steps  occur  between  tones  three  and  four, 
and  seven  and  one. 

Note.  The  half  steps  must  occur  between  tones  three 
and  four  aud  seven  and  one,  otherwise  we  would  not 
have  the  diatonic  scale. 

Octaves.  The  difference  in  pitch  between  any 
one  tone  of  the  scale  and  its  recurring  eighth 
higher. 

Tone  Progression. 

The  tone  progression  of  the  diatonic  scale  is 
thus : 


Step. 


step. 


Half 
Step. 


Step. 


Step. 


Step. 


7  1 
Half 
Step. 


It  is  very  important  for  the  student  to  understand 
that  this  tone  progression  of  steps  and  half  steps  is 
in  the  regular,  natural  grade. 

The  difference  of  a  half  step  between  tones  three 
and  four,  and  seven  and  one,  is  so  arranged  that  a 
fixed  number  of  the  vibrations  producing  these  tones 
will  unite  with  those  of  other  tones  of  the  diatonic 
scale  necessary  to  harmonize  in  the  chords  to  be 
formed. 

Note.  If  the  interval  progression  were  different  from 
the  above,  the  harmony  produced  by  the  chords  would  be 
very  much  changed  from  the  perfect  blending  of  the  com- 
bination which  now  can  be  effected. 


Q.  Between  which  tones  of  the  diatonic  scale  do 
the  half  steps  occur? 

A.  Between  three  and  four  and  seven  and  one. 

Q.  Between  which  tones  do  the  steps  come? 

A.  Between  one  and  two,  two  and  three,  four  and 
five,  five  and  six,  six  and  seven. 

Q.  Must  the  half  steps  always  come  between  three 
and  four  and  seven  and  one? 

A.  They  must  not  occur  between  any  others. 

Q.  If  placed  anywhere  else  what  would  be  the  re- 
sult ? 

A .  Our  scale  would  be  destroyed. 

Q.  What  is  the  difference  in  pitch  between  any 
one  tone  of  the  scale  and  its  recurring  eighth 
higher? 

A.  An  octave. 

Q.  What  is  the  tone  progression  of  the  diatonic 
scale  ? 

A.  One  to  two,  step;  two  to  three,  step;  three  to 
four,  half  step;  four  to  five,  step;  five  to  six,  step; 
six  to  seven,  step  ;  seven  to  one,  half  step. 

Q.  Is  this  tone  progression  always  the  same  ? 

A.  It  is  in  the  diatonic  scale. 

Q.  Why  is  this  difference  of  steps  and  half  steps? 

A.  So  that  a  fixed  number  of  vibrations  of  certain 
tones  may  unite  with  those  of  other  tones  of  the  scale. 

Q:  What  would  be  the  effect  on  the  harmony  of 
certain  chords,  were  this  interval  progression  dif- 
ferent ? 

A.  It  would  be  very  much  changed  from  the  per- 
fect blending  of  our  present  combination. 


ELEMENT  A  R  Y  DEPA  R  TMENT. 


23 


The  Diatonic  Scale,  Ascending  and  Descending. 

Names  of  the  Tones  of  the  Scale. 

One 
Seven  Seven 

Six  Six 

Five  Five 

Four  Four 

Three  Three 

Two  Two 

One  One 


The  above  are  not  names  of  fixed  tones,  but  they 
name  the  relative  pitch,  step  and  halt'  step  distance 
of  our  scale. 

Vocal  Compass. 

Three  successive  scales,  considered  in  pitch,  mak- 
ing twenty-two  tones,  or  three  octaves,  comprise  the 
compass  of  the  human  voice. 


Q.  Are  the  above  names  of  certain  fixed  tones? 

A.  They  are  not. 

Q.  What  do  they  name? 

A.  The  relative  pitch,  step  and  half  step  distance. 

Q.  What  do  three  successive  scales,  or  octaves, 
comprise? 

A.  The  compass  of  the  human  voice. 

Q.  Of  how  many  tones  does  the  vocal  compass 
consist?  A.  Twenty-two. 


Vocal  Compass. 


Ascending. 


Descending. 


1 


12345671234567123456 
Diatonic  Scale.    I  Diatonic  Scale.   I  Diatonic  Scale.  :  Diatonic  Scale.    I  Diatonic  Scale 

Octave.  Octave.  Octave.         I        Octave.  I         Octave.  |         Octave 


765432176543217654321 

Diatonic  Scale. 


24 


MUSIC  AT  SIGHT. 


Diatonic  Scale. 


Half  Step.; (Half  Step. 

7  7  7 


4& 


<&      . J 


step. 


>*  4_ 


Step. 


^       3        !  Half  Step. 


>v 


Step. 


1  Step 


Step. 


Step. 


Step. 


% 


\. 


Step. 


11  all- 


Step.} 3      */v 


Step. 


^„ 


Step. 


Musical  Rule  showing  the  Dividing  Interval. 


Step. 


Step. 


Half 
Step. 


Dividing 

Interval. 


Step. 


Half 
Step. 


Dividing  Interval.  It  will  be  noticed  by  our  mu- 
sical rule  that  the  scale  is  separated  into  halves  by 
the  Dividing  Interval,  there  being  two  steps  and  one 
half  step  to  the  left,  and  two  steps  and  one  half  step 
to  the  right.  The  dividing  interval  consists  of  one 
step.  If  each  interval  were  a  step,  there  would 
be  only  six,  and  tones  4,  5,  6  and  7  would  be  de- 
stroyed. 


Q.  What  can  be  noticed  by  the  musical  rule  in  re- 
gard to  the  division  of  the  scale? 

.1.  It  is  separated  into  two  halves. 

Q.  How  many  steps  and  half  steps  are  there  to  the 
left?  A.  Two  steps  and  one  half  step. 

Q.  How  many  to  the  right  ?  A .  The  same. 

Q.  Of  what  does  the  dividing  interval  consist? 

A.  One  step. 


ELEMENTARY  DEPARTMENT. 


9.K 


Interval  Progression.  These  intervals  are  ar- 
ranged in  this  order  of  steps  and  half  steps  by  allot- 
ting to  each  tone  of  the  scale  a  fixed  number  of  vi- 
brations to  the  second,  so  regulated  in  rapidity  that 
a  number  of  those  of  one  tone  will  blend,  or  unite, 
into  those  of  certain  other  tones  needed  to  combine 
in  order  to  produce  harmony. 

Unison.  Thus  two  tones  of  the  same  pitch  blend 
perfectly,  because  the  number  of  vibrations  of  both 
are  alike,  and  all  unite. 

Octave.  The  octave  is  the  next  in  blending,  be- 
cause the  vibrations  of  the  first  tone  are  doubled  by 
those  of  its  eighth  above,  and  every  second  vibration 
unites  with  those  of  which  it  is  the  octave. 

Thirds,  Fifths,  etc.  So  on  with  its  thirds,  fifths, 
etc.,  whose  tone  waves  unite,  however,  less  frequently 
with  the  first,  according  to  their  regulated  number. 

Combinations  of  tones  whose  vibrations  do  not 
unite  are  avoided,  unless  a  certain  effect  is  desired. 

(See  Practical  Department,  Lesson  VI.) 


Q.  Why  are  these  intervals  arranged  in  this  order 
of  steps  and  half  steps? 

A.  Because  we  want  certain  pitches  that  will  har- 
monize with  other  tones  when  combined. 

Q.  What  makes  them  harmonize? 

A.  Certain  of  their  vibrations  blend  or  unite. 

Q.  Has  every  tonfe  a  fixed  number  of  vibrations 
allotted  to  the  second  ? 

A.  Each  tone  has  its  fixed  number. 

Q.  How  do  the  vibrations  of  one  tone  differ  from 
those  of  another?     A.  In  their  number  and  rapidity. 

Q.  Which  two  tones  will  harmonize  most  per- 
fectly?    A.  Unison.     Two  tones  of  the  same  pitch. 

Q.  Why?       A.  Because  their  vibrations  all  unite. 

Q.  Which  two  tones  come  next  in  blending  ? 

A.  The  octave. 

Q.  Why  the  octave? 

A.  The  vibrations  of  a  tone  are  doubled  by  those 
of  its  octave. 

Q.  Do  certain  vibrations  of  the  third  and  fifth 
tones  blend  with  any  of  the  first? 

A.  Yes;  only  less  frequently  than  either  of  the  above. 

Q.  Are  combinations  of  tones  whose  vibrations  do 
not  unite  avoided  ?     A.  Yes ;  except  for  certain  effect. 


Lesson  VII. 

SYLLABLES.  i 

To  simplify  and  to  familiarize  the  pupil  with  the  \ 
tones  of  the  scale,  we  apply  certain  Italian  syllables, 
which,  by  becoming  associated  with  the  pitches,  will 
aid  in  fixing  them  in  the  mind. 


-Melodies. 

TEACHER  AND  STUDENT. 

Q.  What  help  can  we  apply  to  still  further  sim- 


plify and  aid  the  pupil  in  familiarizing 
the  tones  of  the  diatonic  scale? 
A.  Certain  Italian  syllables. 


himself  with 


26 


MUSIC  AT  SIGHT. 


Syllables   applied   to  the   Tones   of  the  Diatonic 
Scale.     These  syllables  are 

Do,     Re.      Mi,  Fa,     Sol,      La,     Si  Do. 
12         3     4         5         6         7      1 
Pronounced, 

Doe,  Ray,  Mee,  Faw,  Sole,  Law,   See,  Doe. 

1  2'        3     4         5         6         7      1 

Remember  these  syllables  are   not  the  names  of 

the  tones,  but  are  only  applied  to  the  scale  names, 

one,   two   three,    etc.,   and   represent   their   relative 

pitch. 


'?  A.  Do. 
Q.  Four? 
A.   La. 


La,     Si,  Do. 

Q.  Two? 

A.  Fa.     Q. 
Q.  Seven? 


Q.   What  are  the  syllables? 

A.  Do,     Re,     Mi,  Fa,     Sol 

Q.  Which    is   one 
Q.  Three?     A.  Mi. 
A.  Sol.       Q,  Six? 
Q.  Eight?     A.  Do. 

Q.  Are  these  syllables  the  names  of  tones? 

A.  They  are  not. 

Q.  To  what  are  they  applied? 

A.  To  the  scale  names. 

Q.  What  do  they  represent? 

A.  Their  relative  pitch. 


1.  Re. 

Five  ? 
A.  Si. 


Diatonic  Scale  with  Scale  Names  and  Syllables. 


Ascending  by  Syllables. 

Descending  by  Syllables. 

)o, 

Re,        Mi,  Fa,       Sol,        La, 

Si,  Do, 

Si, 

La,        Sol,        Fa.  Mi.         Re, 

Do 

1 

2            3      4            5            6 
Ascending  by  Scale  Names. 

7      1 

7 

6             5             4       3             2 
Descending  bv  Scale  Names. 

1 

It  is  of  the  utmost  importance  to  practice  faithfully, 
by  singing  the  tones  of  the  diatonic  scale,  so  as  to 
become  perfectly  familiar  with  every  pitch.  Do  not 
practice  only  by  syllables,  but  also  by  figures,  or 
scale  names,  vowel  a,  e,  etc. 

Good  Articulation.  It  will  be  noticed  that  these 
tones  of.  the  diatonic  scale  are  each  one  separate  and 
distinct  from  the  other,  hence  they  ought  to  be 
sounded  correctly  and  distinctly.  By  this  is  under- 
stood good  articulation. 


Q.  Is  it  necessary  to  practice  frequently  by  sing- 
ing the  tones  of  the  diatonic  scale? 

A.  It  is  of  the  utmost  importance. 

Q.  Should  we  only  practice  by  syllables  ? 

A.  Practice  by  syllables,  scale  names  and  vowels 
a,  e,  etc. 

Q.  Are  the  tones  of  the  diatonic  scale  each  sepa- 
rate and  distinct?  A.  They  are. 

Q.  What  is  the  correct  and  distinct  sounding  of 
each  tone  called?  A.  Good  articulation  ? 


ELEMENTARY  DEPARTMENT. 


Form.  Pitch  and  Power  of  Tones.  Every  tune 
must  have  a  beginning,  a  middle  and  an  end. 
Sound  the  tone  clear  and  nicely  rounded,  without  any 
straining  or  forcing,  but  with  perfect  ease.  Sing  in 
an  upright  position.  As  we  ascend  to  the  higher 
pitches  it  will  be  necessary  to  slightly  mellow  or  tem- 
per our  tone,  as  the  higher  the  pitch,  the  less  power 
required  for  clearness.  If  we  force  the  tones  they 
will  sound  harsh  and  grating;  use  a  perfectly  nat- 
ural tone;  form  lips  nicely  rounded,  as  in  pro- 
nouncing the  vowel  o. 

Scale  Practice.  Practice  the  following  tones,  or 
any  others  deemed  best  adapted  to  the  pupil,  in 
order  to  become  familiar  with  the  pitch  of  each  sep- 
arate tone ;  use  syllables,  figures  or  vowel  a. 

Sing  these,  or  any  othijr  combinations  desired. 


1,  2,  3,  4,- 5,  6.  7,  8. 

2,  3,  4,  1,  4,  3.  2.  1. 
4,  5,  6,  3,  6,  5,  4,  3. 

3,  2,  1,  3,  4,  3,  2,  4. 


Q.  How  should  a  tone  be  sounded? 

A.  Clear  and  nicely  rounded. 

Q.  Should  a  tone  ever  be  forced  or  strained  ? 

A.  Never. 

Q.  Do  we  use  the  same  power  in  ascending  to  the 
higher  tones  that  we  use  for  the  lower  ? 

A.  The  higher  the  pitch  the  less  power  is  re- 
quired. 

Q.  How  will  tones  sound  when  forced? 

A.  Harsh,  grating. 

Q.  What  kind  of  a  voice  should  we  always  use  in 
singing  ? 

A.  A  perfectly  natural  voice. 

Q.  How  should  the  lips  be  formed  ? 

A.  Nicely  rounded,  like  in  pronouncing  the 
vowel  o. 


1,  2,  3,  1,  2,  1,  3,  ]. 
3,  4,  5,  1,  5,  4,  3,  2. 
5,  6,  7,  5,  7,  6,  5,  4. 
3,  4,  5,  6,  7,  1,  8. 

(See  Practical  Depai 

Lesson  VIII. 

DEGREES. 

We  have,  thus  far,  difference  in  time  regulated  by 
the  various  kinds  of  measure.  Difference  in  length 
or  duration  is  represented   by  the  notes  and  rests. 


1,  2,  3,  2,  3,  2,  3,  1. 

2,  3,  4,  5,  3,  5,  2,  5. 
4,  5,  6,  3,  6,  2,  6,  1. 
7,  6,  7,  5,  4,  5,  3,  5. 

tment,  Lesson  VII.) 


2,  3,  4,  3,  4,  2,  4,  1. 

1,  2,  3,  4,  5,  6,  1,  6. 

1,  2,  3,  4,  5,  6,  7,  1. 

2,  3,  4,  5,  6,  7,  1. 


-Melodies. 

TEACHER  AND  STUDENT. 

Q.  How  is  difference  in  time  regulated  in  music? 

A.  By  the  various  kinds  of  measure. 

Q.  By  what  is  difference  in  length  or  duration  rep- 
Difference  in  pitch  (intervals),  steps  and  half  steps,   resented?  .4.  By  notes  and  rests, 
is  indicated  by  the  diatonic  scale.     Nothing,  so  far,;      Q.  Difference  in  pitch  (steps  and  half  steps),  inter- 
indicates  how  pitch  is  represented.                                 I  vals,  are  indicated  by  what?  A.  By  the  diatonic  scale. 


28 


MUSIC  AT  SIGHT. 


Degrees  sustaining  the  Tones  of  the  Vocal  Com- 
pass. We  will  now  learn  of  certain  degrees  which 
hold  or  support  the  pitch.  If  there  are  three  oc- 
taves of  tones  comprising  the  vocal  compass,  and  if 
each  tone  be  represented  by  a  certain  fixed  degree 
(line  or  space),  there  must  consequently  be  the 
number  of  degrees  to  sustain  these  three  octaves, 
or  twenty-two  tones. 

These  twenty-two  degrees  are  indicated  by  certain 
parallel  lines  and  intervening  spaces. 


Q.  Where  does  the  pitch  rest,  or  what  holds  or 
supports  the  same? 

A.  The  pitch  is  sustained  by  certain  fixed  degrees. 

Q.  How  are  these  degrees  represented  ? 

A.  By  parallel  lines  and  intervening  spaces. 

Q.  How  many  degrees  are  needed  to  support  the 
pitches  of  the  vocal  compass  ? 

A.  Twenty-two  degrees. 

Q.  How  many  octaves  of  pitch  '? 

A.  Three  octaves. 


Lines  and  Spaces  representing  the  Three  Octaves  of  Pitches  of  the  Vocal  Compass. 


-3 -5- 


-1Q Lt LO „ 


Each  line  and  every  space  is  called  a  degree ;  they 
are  counted  from  the  lower  upward. 

It  will  be  noticed  by  counting  the  degrees  from 
right  to  left,  that  the  sixth  line  divides  the  number 
of  the  degrees  into  exact  halves. 

Dividing  the  Degrees.  It  would  complicate  the 
ready  reading  of  the  pitches  to  have  so  many  lines 
and  spaces  together,  making  it  difficult  to  determine 
instantly  the  line  and  space  needed  ;  and  as  there 
are  two  classes  of  voices,  female  and  adult  male,  an  oc- 
tave apart  in  pitch,  we  divide  our  degrees  into  halves, 
and  give  each  class  of  voices  its  appropriate  pitch. 


Q.  What  is  each  line  and  every  space  called? 

A.  A  degree. 

Q.  How  are  these  degrees  counted  ? 

A.  From  the  lower  upward. 

Q.  Which  line  represents  the  centre  of  these  de- 
grees? A.  The  sixth  line. 

Q.  Would  it  not  seem  complicated  to  have  so 
many  lines  together  ? 

A.  We  can  avoid  this  by  dividing  our  number  of 
degrees  into  halves. 

Q.  What  result  will  that  bring  about  ? 

A.  It  will  give  each  class,  the  female  voice  and 
adult  male  voice,  its  appropriate  pitch. 


ELEMEN TARY  DEPA R TMEXT. 


29 


The  sixth  or  middle  line,  with  its  space  above  and 
below,  divides  our  given  number  of  degrees  into 
halves. 

The  Staff.  This  division  gives  to  each  half-  five 
lines  and  four  spaces,  called  the  Staff. 

The  staff  consists  of  nine  degrees,  five  parallel 
lines  and  four  intervening  spaces,  counting  from  the 
lower  upward. 


Q.  How  much  difference  is  there  between  the 
adult  male  and  female  voice? 

A.  Eight  tones,  or  an  octave. 

Q.  Which  degrees  will  make  the  division  ? 

A.  The  middle  line  with  its  space  above  and  below. 

Q.  How  many  lines  and  spaces  will  this  give  us 
for  each  division  ? 

A.  Five  parallel  lines  and  four  intervening  spaces. 

Q.  What  are  these  five  parallel  lines  and  four  in- 
tervening spaces  called  ?  A.  The  Staff. 


The  Staff. 


Degrees. 


Lines. 


Spaces. 


7         £         9 

: ; 6 

4 

•1 

4            5            8 

^ 

i             '•' 

1 

Intermediate  Degrees.  It  will  be  noticed  that  we 
have,  beside  the  degrees  of  our  two  staves,  four  de- 
grees not  included  ;  our  dividing  line,  with  its  space 
above  and  below,  which  we  will  now  call  our  three 
intermediate  degrees,  and  the  higher,  or  twenty- 
second,  degree  of  our  vocal  compass,  which  we  will 
call  our  added  space  above. 


Q.  How  many  degrees  belong  to  our  vocal  com- 
pass beside  those  of  the  two  staves  ?  A.  Four. 

Q.  What  do  we  call  our  dividing  line  with  the 
spaces  above  and  below  it? 

A.  The  three  intermediate  degrees. 

Q.  What  the  higher,  or  twenty-second,  degree  ? 

A.  The  added  space  above  the  staves. 


The  Staff,  Intermediate  Degrees  and  Added  Spaces. 


2 

-xa.- 


—i. 3- 


30 


MUSIC  AT  SIGHT. 


On  the  preceding  page  is  shown  the  vocal  compass, 
placed  on  the  two  separate  staves,  with  the  interme- 
diate and  added  degrees.  Also  the  eleven  degrees 
suited  to  each  class  of  voices. 

Added  Lines  and  Spaces.  The  compass  for  each 
class  of  voices  may,  however,  extend  beyond  the  de- 
grees of  its  appropriate  staff.  We  must  therefore 
sometimes  add  degrees  some  of  which  belong  to 
another  staff,  and  this  is  done  by  added  lines  and 
added  spaces. 

Observe  that  these  degrees  do  not  belong  to  the 
staff;  they  are  added  to  extend  the  pitch  either  be- 
low or  above  the  same. 


Q.  Which  are  the  three  intermediate  degrees  in 
the  above  example'? 

A.  The  dividing  line,  degree  11,  with  its  spaces 
above  and  below,  degrees  10  and  12. 

Q.  Counting  from  right  to  left,  how  many  degrees 
belong  to  each  class  of  voices? 

A.  About  eleven  degrees. 

Q.  Does  the  compass  for  each  separate  class  ever 
extend  beyond  the  degrees  of  its  appropriate  staff? 

A.  The  compass  may  extend  beyond. 

Q.  What  must  we  have  to  meet  this  extension  ? 

A.  Added  degrees. 

Q.  How  can  we  accomplish  this  ? 

A.  By  added  lines  and  spaces. 


The  Staff,  showing  the  Pitch  of  the  Added  Lines  and  Spaces. 


Intermediate  line. 
Same  pilch. 


The  Staff,  showing  its  Added  Lines  and  Spaces. 


Second  added  space  above. 
First  added  space  above. 


First  added  space  below. 
Second  added  space  below. 


Second  added  line  above. 
First  added  line  above. 


(.See  Practical  Department,  Lesson  VIII.) 


ELEMENTARY  DEPARTMENT. 


31 


Lesson  IX. 

CLEF. 

In  order  to  have  a  fixed  pitch  represented  we 
must  give  to  each  class  of  voices  its  appropriate  staff, 
and  this  is  done  by  certain  characters  called  Clefs. 
A  clef  determines  the  position  of  the  class  of  voices 
suited  to  the  staff. 


The  Treble  Clef. 


The  pitch  of  the  female 


voice  is  shown  by  a  clef  which  winds  around  the 
second  line  of  the  staff,  and  the  pitch  of  that  line 
being  G,  it  is  called  the  G  clef,  and  as  it  represents 
the  staff  that  is  suited  in  pitch  to  the  treble,  it  is 
also  called  the  Treble  clef. 

The  Treble  Clef  placed  on  the  Staff. 


Bass  Clef.  ^)'.  The  pitch  of  the  adult  male  voice 
is  shown  by  a  clef  winding  around  the  fourth  line  of 
the  staff,  and  the  same  being  the  pitch  F,  it  is  called 
the  F  clef.  Because  it  represents  the  staff  that  is 
suited  in  pitch  to  the  bass,  it  is  also  known  as  the 
Bass  clef. 

The  Bass  Clef  placed  on  the  Staff. 


zgz: 


-Melodies. 

TEACHER  AND  STUDENT. 

Q.  In  order  to  have  a  fixed  pitch  represented, 
what  must  we  give  to  each  class  of  voices? 

A.  Its  appropriate  staff. 

Q.  What  is  that  character  called  which  determines 
the  position  of  the  class  of  voices  suited  to  the 
staff? 

A.  A  Clef. 

Q.  What  clef  shows  the  staff  suited  in  pitch  to  the 
female  voice  ? 

A.  The  Treble  clef. 

Q.  By  what  other  name  is  it  sometimes  called? 

A.  The  G  clef. 

Q.  Why  the  G  clef? 

A.  Because  it  winds  around  the  second  line  of  the 
staff,  which  pitch  is  G. 

Q.  What  clef  is  placed  on  the  staff  suited  in 
pitch  to  the  adult  male,  and  particularly  the  bass, 
voices  ? 

A.  The  Bass  clef. 

Q.  Which  line  does  it  wind  around? 

A.  The  fourth  line. 

Q.  What  is  the  pitch  of  this  line  called  ? 

A.  F. 

Q.  What  is  the  clef  sometimes  called? 

A.  The  F  clef. 

Q.  Does  it  make  any  difference  which  way  the 
bass  clef  is  turned  ? 

A.  It  does  not. 


32 


MUSIC  AT  SIGHT. 


Tenor  Clef.    ISH      Sometimes   a   separate   clef  is 

used  for  convenience,  to  show  the  pitch  of  the  higher 
male  voices,  called  Tenor.  This  clef  is  placed  on 
the  third  space,  and  its  pitch  being  C,  it  is  called 
the  C  clef;  also  the  Tenor  clef. 

The  Tenor  Clef  placed  on  the  Staff. 


Q.  What  other  clef  have  we  sometimes  in  use  for 
convenience  sake  ? 

A.  The  Tenor  clef. 

Q.  What  kind  of  voices  are  suited  to  the  pitch  of 
the  staff  when  represented  by  the  tenor  clef? 

A.  The  higher  male,  or  tenor,  voices. 

Q.  What  other  name  is  given  to  this  clef? 

A.  The  C  clef. 

Q.  Is  the  space  on  which  it  is  placed  called  C? 

A.  The  pitch  represented  by  that  space  is  C. 


The  Staff,  as  represented  by  the  different  Clefs. 

Treble,  or  G  Clef-  Tenor,  or  C  Clef. 

Degrees.  Degrees. 


Bass,  orF  Clef. 
Degrees. 


^=i=i 


Comparison   of  the   Staff  in    the    different  Clefs. 

It  will  be  noticed  by  the  above  that  the  staff,  as 
represented  by  both  the  treble  and  tenor  clefs,  looks 
alike,  but  when  the  bass  clef  is  placed  upon  it 
there  seems  to  be  a  considerable  change,  and  the 
arrangement  of  the  degrees  is  different. 

Comparison  of  the  Intervals  of  the  Staff  and 
Scale.  As  by  the  diatonic  scale,  our  musical  rule, 
which  contains  certain  difference  in  its  intervals,  so 
also  our  staff  shows  considerable  difference  between 
certain  decrees. 


Q.  Which  two  of  the  above  staves  seem  to  be  alike? 

A.  The  two  with  the  treble  and  tenor  clefs. 

Q.  Is  the  staff  represented  by  the  bass  clef  mate- 
rially different  from  the  others? 

A.  It  is  formed  different. 

Q.  What  kind  of  intervals  are  contained  in  our 
diatonic  scale?  A.  Larger  and  smaller. 

Q.  What  are  the  larger  intervals  called?  A.  Steps. 

Q.  What  the  smaller?  A.  Half  steps. 

Q.  Does  the  staff  as  represented  by  the  different 
clefs  also  show  differences  between  certain  degrees? 

A.  There  are  differences. 


ELEMENTA  R  Y  DEPA  R  TMENT. 


33 


Intervals  of  the  Staff  in  the  Treble  and  Tenor 
Clefs.  Thus  the  stuff  represented  by  the  treble  and 
tenor  clefs  seems  to  have  a  greater  difference  be- 
tween the  lines  representing  degrees  three  and  five 
than  between  the  other  lines. 

Intervals  of  the  Staff  in  the  Bass  Clef.  In  the  staff 
represented  by  the  bass  clef  the  difference  is  greater 
between  lines  representing  degrees  one  and  three,  and 
again  between  seven  and  nine.  (It  is  very  important 
that  the  pupil  may  form  a  correct  idea  of  the  staves, 
as  shown  above,  to  let  it  be  impressed  that  every 
line  and  every  space  is  a  real  representative  of  the 
pitch  it  contains.  Look  at  the  staff  and  you  look 
upon  nine  representees  of  nine  different  pitches, 
with  power  to  add  others  below  and  above.) 

(See  Practical  Depar 


Q.  What  is  noticed  between  the  second  and  third 
line  of  the  staff  having  the  treble  and  tenor  clef? 

A.  The  difference  is  greater  than  between  any 
other  two  lines. 

Q.  How  with  the  staff  represented  by  the  bass  clef? 

A.  There  is  a  greater  difference  between  the  first 
and  second,  and  between  the  fourth  and  fifth  lines. 

Q.  What  is  every  line  and  each  space  of  the  staff 
really  a  representative  of? 

A.  Of  the  certain  pitch  which  it  sustains. 

Q.  Does  the  staff  then  really  consist  of  nine  rep- 
resentatives of  nine  pitches  ? 

A.  That  is  the  correct  idea  of  the  staff. 

Q.  May  we  add  other  pitches  to  these  nine? 

A.  Yes  ;  we  may  add  both  below  and  above. 

tment,  Lesson  IX.) 


Lesson  X.- 

ABSOLUTE  PITCH. 

The  different  pitches  represented  by  the  degrees 
of  the  staff  are  named  by  the  first  seven  letters  of 
the  alphabet,  commencing,  however,  with  G,  on  the 
lower  degree  of  the  vocal  compass. 

Intermediate  line.  The  pitch  of  the  intermediate 
line  is  C,  and  because  it  is  the  dividing  line  (middle 
line)  between  the  two  staves,  it  is  termed  middle  0. 

Note.     The   first   added   Hue   below   the   staff  in   the 
treble  elef,  and  above  the  staff  in  the  bass  clef,  are  both 
the  same  degree— the  same  pitch— middle  C. 
3 


-Melodies. 

TEACHER  AND  STUDENT. 

Q.  What  do  we  call  the  certain  fixed  pitches  rep- 
resented by  the  degrees  of  the  staff? 

A.  Absolute  pitch. 

Q.  By  what  are  the  pitches  of  the  degrees  of  the 
staff  named  ? 

A.  By  the  first  seven  letters  of  the  alphabet. 

Q.  Which  one  do  we  commence  with  as  the  lower 
degree  of  the  vocal  compass ?  A.  G. 

Q.  What  is  the  pitch  of  our  intermediate  degree? 

A.  Middle  C. 

Q.  Why  middle  C?  A.  It  divides  the  staves. 


34 


MUSIC 


IT 

1 


Intermediate  Spaces.     The  space  below  middle  C 
is  B,  and  the  space  above  is  called  D. 

Xote.     These   an 
tween  the  two  stave 

and  above.     All  others  used  represent  pitches  in  unison    between  the  two  staves  ? 
with  some  of  the  pitches  of  either  one  of  the  staves.  A.  There  are  but  three 


the  three  intermediate  degrees  be- 
;  i.  e.,  middle  C,  with  its  space  below 


SIGHT. 

Q.  What  is  the  space  below  middle  C? 

A.  B. 

Q.'  What  the  space  above  it?  A.  D. 

Q.  Are  these  the  only  three  intermediate  degrees 


-fl- 

Absolute 

Pitch. — Vocal   Compass. 

?.       ( 

?t — 

— 

-c B— 

— '-- 

m 

r*1 

Ti *— * 1 

B-°-                                         | 

V 

1 

j 

IT> 

t. 

i 1 1 

A 

' " 

i 

Octave. 

Octave. 

Octave. 

It  will  be  noticed  that  between  the  pitches  E  and        Q.  What  is  noticed  in  the  above  example  between 
F  and  B  and  C  the  intervals  are  half  steps,  while   the  pitches  E  and  F  and  B  and  C? 
between  all  the  others  they  are  steps.  A.  The  intervals  are  half  steps. 

Q.   What   kind  of  intervals   have  we   between   all 


Pitches  represented  by  the  Degrees  of  the  Staff  in 
the  Treble  Clef. 

Lines.  Spaces. 


the  others  ? 


A.  Steps. 


Guide  to  the  lines  : 

Every  Good  Boy  Does  Finely. 
1   '      2        34        5 


Q.  Arc  the  intervals  between  E  and  F  and  B  and 
C  half  steps  on  the  staff  in  both  clefs,  and  also  on 
the  added  degrees? 

At  They  are  half  steps  wherever  we  find  them. 

Q.  What  are  the  pitch  names  of  the  lines  of  the 
staff  represented  by  the  treble  clef? 

A.  First  line,  E;  second,  G;  third,  B;  fourth, 
D ;  fifth,  F. 

Q.  What  is  the  guide  to  the  lines  ? 

A.  Every  Good  Boy  Does  Finely. 


ELEMENTA  R  Y  DEPARTMENT. 


35 


Guide  to  the  spaces  : 

F  A  C  E— Face. 
12   3   4. 

Pitches  represented  by  the  Degrees  of  the  Staff  in 
the  Bass  Clef. 

Lines.  Spaces. 


7mV      i                             f 

4                                  G" 

.1                   t-' 

„ 

1          * 

Guide  to  the  lines : 

Good  Bovs  Do  Finely  Always. 
1  2       3  4  '         5 

Guide  to  the  spaces  '? 

All  Cases  Easily  Gained. 
12  3   '         4 

Note.  The  pitches  represented  by  the  degrees  of  the 
statf  iu  the  tenor  clef  are  the  same  as  those  in  the  treble  : 
only  an  octave,  or  eight  tones,  lower.  This  difference  in 
pitch  is  the  same  as  that  between  the  tenor  (male I  voices 
and  the  treble  I  female)  voices. 


Q.  What  are  the  pitch  names  of  the  spaces? 

A.  First  space,  F;  second.  A  ;  third,  C  ;  fourth.  E. 

Q.  What  is  the  guide  to  the  spaces  ? 

A.  F  A  C  E— Face. 

Q.  What  are  the  pitch  names  of  the  lines  of  the 
staff  represented  by  the  bass  clef? 

A.  First  line,  G;  second,  B;  third,  D;  fourth,  F; 
fifth,  A. 

Q.  What  is  the  guide? 

A.  Good  Boys  Do  Finely  Always. 

Q.  What  are  the  pitch  names  of  the  spaces  ? 

A.  First,  A;  second,  C;  third,  E;  fourth.  G. 

Q.  What  is  the  guide  ? 

A.  All  Cases  Easily  Gained. 

Q.  What  letters  name  the  pitch  of  the  degrees  of 
the  staff  in  the  tenor  clef? 

A.  The  same  as  in  the  treble  clef. 

Q.  What  is  the  difference  in  pitch? 

A.  An  eighth,  or  an  octave. 


Absolute  Pitch  represented  by  the  Degrees  of  the  Staff  and  Added  Degrees  of  the  Treble  Clef. 


I 


The  above  example  shows  the  half  steps  between 
the  pitches  E  and  F  and  B  and  C.  Observe  that 
between  the  lines  and  added  lines,  where  the  larger 


Q.  Between  which  degrees  of  the  staff  in  the  treble 
clef  are  the  half  steps? 

A.  Between  the  first  line  and  first  space,  the  third 


spaces  occur,  the  intervals  are  two  steps.     Between   fine  and  third  space  and  the  fourth  space  and  fifth  line. 
all  the  others  they  are  a  step  and  a  half  step.     The       Q.  What  are  the  pitch  names  of  these  degrees'? 
same  applies  to  the  staff  in  the  bass  clef.  A,  E  and  F  and  B  and  C. 


36 


MUSIC  AT  SIGHT. 


Absolute  Pilch  represented  by  the  Degrees  of  the  Staff  and  Added  Degrees  in  the  Bass  Clef. 


There  is  a  greater  difference  in  pitch  between  the 
same  letters  of  certain  lines,  or  of  certain  spaces  of 
the  staff  in  the  bass  and  in  the  treble  clef  than  at 
first  appears. 

Start  at  G,  the  first  line  of  the  staff  in   the  bass 


Q.  Between  which  degrees  of  the  staff  in  the  bass 
clef  are  our  half  steps  ? 

A,  Between  the  second  line  and  second  space,  third 
space  and  fourth  line,  and  the  space  above  middle  C. 

Q.  How  much  difference  in  pitch  is  there  between 


clef,  and  count  up  to  G,  the  second  line  of  the  treble  .  the  pitch  of  the  first  line  of  the  bass  clef,  G,  and  the 
clef;  the  difference  in  pitch  is  fifteen  tones — two  oc-   second  line  of  the  treble  clef,  G? 
taves.  i     A.  Fifteen  tones,  or  two  octaves. 

Absolute  Pitch  showing  the  comparison  of  the  Pitch  of  the  Added  Degrees  with  the  Degrees  of  the   Staff. 


TT 

,,           \: 

Second  line. r — 

A 

m 

_G 

tr~ 

-F— E~- 

Fir*t  line.       T> E 

Middle  C.       „— C — 

_F 

Fourth  Hoe. 

!m\" 

m^ — 

— D 

T        B 

If  the   diatonic   scale   is   our   rule   by  which   we  !      Q.  What  must  be  observed.in  placing  the  diatonic 
measure  the  difference  in  pitch,  steps  and  half  steps, !  scale  upon  the  staff? 

then  in  placing  it  upon  the  staff  which  contains  the       A.  The  half  steps  of  the  scale  and  the  half  steps 
pitch  which  this  scale  assists  us  in  sounding  cor- 1  upon  the  staff  must  be  fitted  together, 
rectly,  we  must  fix  our  scale,  or  rule,  in  such  a  posi- '      Q.  Which  of  the  two  can  be  moved,  the  scale  or 
tion  that  the  half  steps  will  fit  together.  •  the  degrees  of  the  staff? 

The  degrees  of  the  staff  are   fixed,  while  the  dia-       A.  The  scale  is  movable ;  the  degrees  of  the  staff 
tonic  scale  is  movable.  I  are  fixed. 


EL  EM  EST  A  RY  DEPAR  TMENT. 


37 


The  Tone  Ladder,  our  Musical  Rule,  fitting  the  Half 
Steps  of  the  Scale  to  tne  Half  Steps  upon  the  Staff. 


-^-Middle  C. 


-*>-<2- 


^      O 


Pitch  Names.  C 
Scale  Names.  1 
Syllables.         Do 


Re 


E  F 

G      A 

B   C. 

3     4 

5      6 

7    1. 

Mi  Fa 

Sol   La 

Si  Do. 

Absolute  Pitch  is  represented  by  the  letters. 

Relative  Pitch  is  represented  by  figures  and  syllables. 

The  student  must  be  impressed  with  the  fact  that 
the  staff,  as  well  as  the  diatonic  scale,  has  its  half 
steps.  The  staff  shows  this  difference  by  represent- 
ing a  larger  space  between  certain  lines  than  there  iS 
between  others.  This  is  to  indicate  the  interval  of 
two  steps,  while  between  the  other  lines  there  is  a 
step  and  a  half  step. 

The  music  type  makes  it  difficult  to  continue  this 
arrangement,  and  as  it  is  believed  that  a  sufficient 
number  of  exercises  have  been  placed,  the  regular 
staff  will  be  used. 

Observe  that  although  the  staff,  as  it  will  be  used 


Q.  Do  the  pitches,  as  represented  by  the  degrees 
of  the  staff  and  added  degrees,  ever  change  with  the 
scale? 

A.  The  pitches  are  absolutely  fixed  by  the  degrees. 
They  never  change. 

Q.  What  do  the  pitch  names  (letters)  represent? 

A.  Absolute  pitch. 

Q.  What  do  the  scale  names  (figures)  represent? 

A.  Relative  pitch. 

Q.  What  is  represented  by  the  syllables? 

A.  The  syllables,  Do,  Re,  Mi,  etc.,  are  applied  to 
the  scale  names,  and  represent  relative  pitch. 

Q,  What  differences  have  been  noted  between  cer- 
tain lines  of  the  staff? 

A.  The  spaces  are  larger  than  between  others? 

Q.  Why  this  difference? 

A.  There  is  an  interval  of  two  steps  between  them, 
while  between  other  lines  we  have  but  a  step  and  a 
half  step. 

Q.  Will  this  visible  difference  be  continued  ? 

A.  No. 

Q.  Why  not  ? 

A.  The  music  type  makes  it  difficult  to  continue 
this  arrangement. 

Q.  Although  the  regular  staff  does  not  show  any 
visible  difference,  does  this  succession  of  steps  and 
half  steps  still  exist  ? 

A.  It  remains  the  same  throughout  the  entire  sys- 
tem of  musical  notation. 

Q.  Will  the  intervals  of  steps  and  half  steps  remain 
in  the  same  regular  order  ?  A.  Thev  will. 


38 


MUSIC  AT  SIGHT. 


hereafter,  does  uot  indicate  any  visible  difference, 
yet  the  same  succession  of  steps  and  half  steps  exists 
as  heretofore  noted.  It  is  always  represented  by  the 
pitches. 


Q.  What  represents  them? 
A.  The  pitches.    . 
Q.  What  represents  the  pitches  i 
A.  The  degrees  of  the  staff. 


(See  Practical  Department,  Lesson  X.) 


Lesson  XI. 

NATURAL  SCALE  AND  KEY. 
Scale  of  C.    A  scale  is  named  after  the  letter  upon 
which   it  is   placed,  or  the   pitch  upon  which   it   is 
founded.     A  scale  when  placed  upon  the  pitch  0,  is 
called  the  Scale  of  C. 

Natural   Scale.     When   the  scale  is  composed  of  ■ 
natural  pitches  of  the  degrees  of  the  staff,  it  is  called 
the  Natural  Scale. 

Model  Scale.  Either  of  the  tones  forming  this 
scale  may  be  taken  to  name  another  scale  just  like  it ; 
i.  c,  it  forms  a  model  for  any  other  one  ;  therefore  it 
is  said  to  be  the  Model  Scale. 

Note.  This  scale  is  not  more  natural  than  any  other 
scale,  only  it  consists  of  natural  pitches  of  the  degrees  of 
the  staff.  Any  other  diatonic  scale  is  just  as  natural  in 
its  interval  progression. 

Varieties  of  Scales.     It  will  be  seen  that  we  may 
form  seven  different  scales,  as  there  are  seven  differ- 
ent pitches  composing  the  scale  of  C.     Indeed,  w^J 
may  even  form  more,  as  will  be  noticed  by  some  of  i 
the  succeeding  lessons. 


—Melodies. 

TEACHER  AND  STUDENT. 

Q.  After  what  is  the  scale  named  when  placed 
upon  the  staff? 

A.  After  the  letter,  or  pitch,  upon  winch  it  is 
founded. 

Q.  What  would  we  call  the  scale  when  placed 
upon  the  letter  C?  A.  The  scale  of  C. 

Q.  Why  is  this  called  the  natural  scale? 

A.  Because  its  tones  are  composed  of  natural 
pitches  of  the  degrees  of  the  staff. 

Q.  Why  is  it  called  the  model  scale? 

A.  Because  this  scale  forms  a  model  for  all  others. 

Q.  Is  this  scale  more  natural  than  any  other  one? 

A.  It  is  not. 

Q.  Are  all  other  diatonic  scales  just  as  natural  in 
their  interval  progression  ? 

A.  They  are. 

Q.  How  many  different  scales  can  we  form  if  we 
place  tone  one  upon  either  of  the  pitches  of  the 
model  scale  ?  A.  Seven. 

<L>.  Why  seven  ? 

.1.  Because  there  are  seven  different  pitches  in  the 
scale  of  0. 


1* 


ELEMENT.  I R  Y  DEPA  R  TMENT. 


:iy 


Key-Note.  Tone  one,  or  Do,  seems  to  be  the  most 
important  tone  in  the  diatonic  scale.  The  scale 
seems  to  be  built  upon  it ;  and  this  same  pitch  not 
only  opens  the  scale  but  also  closes  it;  hence  the 
very  appropriate  name,  Key-Note. 

The  Model  Scale  placed  upon  the  Staff  in  the  three 
different  Clefs. 


f 

Treble  Clef. 

rl 

ft 

. 

& 

IV  \> 

«7 

-&- 

a 

Tenor  Clef. 

t 

jS 

„      /-2 

^* 

<3 

-<S>- 

o 

Bass  Clef. 

&    ■*- 

/* 

.-           S7 

C-l 

O      & 

■c 

Scale  of  C  in  the  different  Clefs.  Either  of  the 
above  scales  is  placed  upon  the  pitch  C,  and  is  known 
as  the  natural  scale  because  all  of  the  tones  of  either 
of  these  scales  are  natural   pitches  of  the  degrees  of 

the  staff.     One  scale    is   in   the   treble,  one   in   the 

'  I 

tenor  and  the  other  in  the  bass  clef. 

Scale.      How  formed.      Whenever  eight  pitches 
are  chosen  in  the  regular  order  in  which   they  sue-  ; 
ceed  each  other  on  the  staff,  and  in  the  interval  pro- 


(>.  Which  seems  to  be  the  most  important  tone  in 
the  diatonic  scale? 

A.  Tone  one,  or  Do. 

Q.  What  is  it  called  ? 

A.  The  Key-Note. 

Q.  What  is  meant  by  key-note  ? 

A.  The  note  representing  the  pitch  which  forms 
the  root  of  the  scale. 

Q.  What  does  the  key-note  open  and  close? 

A.  The  pitch  of  the  diatonic  scale. 

Q.  How  does  it  open  and  close  the  pitch  ? 

A.  The  pitch  of  the  first  and  last  tones  of  the 
diatonic  scale  is  named  by  the  same. 

Q.  Upon  which  pitch  is  either  of  the  above  scales 
placed  ? 

A.  Upon  the  pitch  C. 

Q.  What  scale  are  all  three  ? 

A.  The  scale  of  C. 

Q.  Are  the  tones  forming  these  scales  all  natural 
pitches  of  the  degrees  of  the  staff? 

A.  Yes. 

Q.  What  is  the  pitch  of  our  key  note?  A.  C. 

Q.  Is  the  pitch  of  middle  C  the  same  in  both  the 
tenor  and  treble  clefs  ? 

A.  It  is  an  octave  lower  in  the  tenor. 

Q.  Why  this  difference? 

A.  The  tenor  clef  represents  a  pitch  an  octave 
lower. 

Q.  What  may  be  formed  from  certain  pitches  of 
the  staff  chosen  in  their  regular  order? 

A.  A  scale  family. 


40 


MUSIC  AT  SIGHT. 


gression  of  the  diatonic  scale,  they  form  a  scale  fam- 
ily, the  same  as  the  members  of  a  family  at  home  in 
their  regular  places. 

Key.  Whenever  the  pitches  of  this  same,  family 
of  tones  are  selected  at  will  from  dispersed  positions 
(like  a  family  scattered  here  and  there),  they  are 
representatives  of  a  key. 

Note.  In  either  case — scale  or  key — the  tone  forming 
the  root  names  it,  and  is  our  key-note. 

Distinction  between  Scale  and  Key.  It  will  be 
seen  that  there  is  a  difference  in  saying  scale  of  C 
and  key  of  C.  Both  are  founded  upon  the  same  root 
and  named  after  it,  yet  in  one  case  all  the  tones  are 
in  regular  order,  while  in  the  other  they  are  scat- 
tered or  placed  at  will. 

Absolute  Pitch— different  positions   in   the  Scale. 

The  natural  pitch  of  any  of  the  degrees  of  the  staff, 
or  added  degrees,  is  not  changed,  no  matter  in  what 
position  of  the  family  of  tones  they  may  be  found, 
or  what  number  of  the  same  they  may  form.  Pitch 
C  would  remain  the  same  tone  wh ether  it  be  the. 
root,  second,  third,  fourth,  fifth,  sixth  or  seventh1 
tone  of  a  scale  family. 

Movable   Scale.      It  is  the  scale — our   rule — that! 
moves  to  the  different  positions  on  the  staff  to  adapt 
itself  to  some  new  pitch  that  may  have  displaced,  or 
destroyed,   a    natural    pitch    of   some   degree   upon 
which  it  is  impressed. 

{See  Practical  Depnt 


Q.  In  what  interval  progression  must  they  be  ? 

A.  In  that  of  the  diatonic  scale. 

Q.  What  do  the  pitches  of  this  family  of  tones 
represent  when  selected  from  dispersed  positions  on 
the  staff? 

A.  They  are  representatives  of  a  key. 

Q.  Which  tone  names  them  in  either  scale  or  key? 

A.  The  tone  forming  the  root;  the  key-note. 

Q.  Is  there  any  distinction  between  scale  and  key? 

A.  Yes. 

Q.  If  both  scale  and  key  are  founded  upon  the 
same  root,  what  is  the  difference? 

A.  In  a  scale  the  tones  are  in  regular  order,  by  a 
key  they  are  placed  at  will. 

Q.  Do  the  natural  pitches  of  the  degrees  of  the 
staff,  or  added  degrees,  change  when  placed  in  differ- 
ent positions  in  this  tone  family? 

A.  They  do  not  change. 

Q.  Does  it  make  any  difference  which  of  the  tones 
of  the  scale  they  represent?  A.  No. 

(}.  Will  C  remain  the  same  pitch  whether  it  forms 
the  root,  second,  third,  fourth,  fifth,  sixth  or  seventh 
tone  of  the  scale?  A.  It  will. 

Q.  What  does  move  to  different  positions  upon 
the  staff?  » 

A.  <  tar  scale  or  rule. 

Q,  Why  does  the  scale  move  to  different  posi- 
tions ? 

A.  In  order  to  adapt  itself  to  some  new  pitch  im- 
pressed upon  the  staff. 
iment.  Lesson  XL) 


ELEMENTARY  DEPARTMENT. 


41 


Lesson  XII.— Melodies. 


CLASSIFICATION  OF  THE  VOICES. 

While  we  have  two  classes  of  adult  voices,  male 
and  female,  we  may  again  divide  each  class  into 
different  parts,  higher  and  lower.  The  usual  di- 
visions are : 

Soprano — the  higher  female  voices. 

Alto — the  lower  female  voices. 

Tenor — the  higher  male  voices. 

Bass — the  lower  male  voices. 


There  are  other  divisions 
noted  now. 


hut  thev  will   not  be 


Compass  of  each  Class  of  Voices.  While  the  vo- 
cal compass  comprises  about  three  octaves  of  tones, 
the  compass  for  each  of  the  above  divisions  is  usually 
about  one  octave  and  a  half,  which  any  voice  ought 
to  reach  with  ease. 

Extending  the  Compass.  The  same  may  be  ex- 
tended higher  or  lower,  or  both.  The  following  ex- 
ample shows  the  usual  extent  for  a  full,  clear  tone 
produced  without  effort. 

Sing  with  natural  ease,  without  straining  the 
voice ;  let  each  division  practice  its  allotted  part, 
laying  particular  stress  on  both  the  higher  and  lower 
notes  of  the  compass. 


TEACHER  AND  STUDENT. 

Q.  How  many  classes  of  voices  have  we? 

A.  Two. 

Q.  What  are  they  ? 

A.  Male  and  female  voices. 

Q.  May  either  of  these  two  classes  be  subdivided  ? 

A.  They  may  each  be  divided  into  higher  and 
lower  voices. 

Q.  What  are  the  higher  female  voices  called  ? 

A.  Soprano. 

Q.  What  are  the  lower  female  voices  called '? 

A.  Alto. 

Q.  What  are  the  higher  male  voices  called? 

A.  Tenor. 

Q.  What  the  lower  ?  A.  Bass. 

Q.  What  is  the  usual  compass  for  each  of  the 
above  divisions  ? 

A.  About  one  octave  and  a  half  of  tones. 

Q.  May  either  be  extended  above  or  below  the 
compass  given? 

A.  They  may  extend  either  below  or  above. 

Q.  How  should  these  tones  be  produced  ? 

A.  In  a  clear  tone  and  without  effort. 

Q.  How  can  we  best  attain  perfect  ease  in  reach- 
ing the  extreme  higher  and  lower  tones  of  the  com- 
pass allotted  to  our  part  ?        .-1.  By  faithful  practice. 

Q.  What  should  be  particularly  avoided  ? 

A.  Straining  the  voice. 


42 


MUSIC  AT  SIGHT. 


Comparison  of  the  Pitch  of  the  Classified  Voices,  giving  to  each  its  usual  Compass  on  separate  Staves. 
Soprano. 


i 


i 


Alto. 


Tenor. 


m 


Bass. 


-f-^-f-t 


GABCDEFG 


'=f±±l 


B     C      D       E    F        G 


— I 

I 


\       B     C       D       E    F     G 


Bass  Co  nips 

1                1 

Tenor  Compass. 

Alto  Compass. 

Soprano  Comps 

ss. 

Compass  of  the  Human  Voice. 

Tt  will  be  noticed  that  the  bass  is  the  lowest,  I 
tenor  next  higher,  alto  above  the  tenor,  and  that  the  | 
soprano  is  always  the  highest  part. 

Again,  the  alto  and  the  tenor  are  always  between 
the  soprano  and  the' bass. 

Note.  The  tenor  compass  seems  to  be  placed  higher 
than  the  alto,  but  the  tenor  clef  represents  pitch  an  oc- 
tave lower  than  the  treble,  hence  the  alto  is  above. 


Q.  Which  is  the  lower  part  of  the  vocal  compass? 
A.  The  bass  is  always  the  lowest. 
Q.  Which  is  the  next  higher  ?  A.  The  tenor. 

Q.  Which  next  above  the  tenor?  A.  The  alto. 

Q.   Which  part  is  always  the  highest? 
A.  The  soprano. 

Q.  Which  two  parts  lie  between   the  soprano  and 
the  bass?  A.  The  alto  and  the  tenor. 


(See  Practical  Department,  Lesson  Xlf.) 


ELEMEXTA  R  Y  DEPA  H TMENT. 


4:3 


Lesson  XIII 

ARRANGEMENT  OF  HARMONY. 

As  we  have  now  classified  the  voice  into  four  di- 
visions, Soprano,  Alto,  Tenor,  Bass,  we  can  arrange 
our  harmony  into  four  parts,  allowing  each  division 
its  own  position  on  the  staff. 

Having  a  separate  clef  for  each  of  the  two  classes 
of  voices,  adult  male  and  female,  it  will  only  be  ne- 
cessary to  divide  each  class  into  two  parts,  or  place 
on  the  staff  of  each  clef  a  part  for  the  higher  and  one 
for  the  lower  voice  of  the  same  class. 

Score.  The  combination  of  two  or  more  parts  to 
be  performed  together. 

Brace.  The  lines  preceding  the  clefs,  connecting 
two  or  more  staves  to  be  used  for  the  different  voices; 
i.  e.,  showing  on  how  many  staves  the  different  parts, 
or  the  score,  are  written. 

Four-Part  Harmony.  The  usual  arrrangement  for 
four-part  harmony,  and  the  one  often  preferred,  is 

on  two  staves. 

Note.  The  teacher  should  exercise  care  in  selecting 
the  singers  for  the  different  parts,  so  that  each  be  as- ! 
signed  to  his  or  her  true  voice.  A  good  way  is  to  have 
the  class  sing  as  many  of  the  tones  of  the  vocal  compass 
as  can  be  reached  with  ease;  note  those  singing  higher 
or  lower  than  others,  and  classify  into  soprano,  alto,  tenor 
and  bass.  I 


.—Melodies. 

TEACHER  AND  STUDENT. 

Q.  How  many  divisions  of  voices  have  we? 

A.  Four:    Soprano,  Alto,  Tenor,  Bass. 

Q.  Into  how  many  parts  may  we  arrange  our  har- 
mony ? 

A.  Into  four  parts. 

Q.  What  clef  represents  the  staff  suited  in  pitch 
to  the  female  voice  ? 

A.  The  treble  clef. 

Q.  Which  the  adult  male  voice  ? 

A.  The  bass  clef. 

Q.  Would  we  place  both  of  the  divisions  of  the 
female  voice  on  the  staff  with  the  treble  clef? 

A.  Yes  ;  the  treble  clef  represents  both. 

Q.  Do  we  place  the  two  divisions  of  the  adult 
male  voice  on  the  staff  represented  bv  the  bass  clef? 

A.  We  do. 

Q.  What  is  a  combination  of  two  or  more  parts  to 
be  performed  together  called? 

A.  A  score. 

Q.  What  do  we  call  those  lines  in  front  of  the  clefs 
connecting  two  or  more  staves  ? 

A.  A  brace. 

Q.  What  does  it  indicate  ? 

A.  It  shows  on  how  many  staves  the  different 
parts,  or  the  score,  are  written. 

Q.  What  is  the  usual  arrangement,  and  the  one 
often  preferred  ? 

A.  On  two  staves. 


44 


MUSIC  AT  SIGHT. 


Four-Part  Harmony  as  Written  on  Two  Staves 


Soprano. 


mm 


SSEEEE3 


t=i 


JE? 


\ 


~t- 


%=v 


'# 


F^rmrrfm 


Alto. 


Tenor. 


Ippjjat^li^i^fpp 


It  will  be  noticed  that  the  soprano  and  alto  parts 
are  placed  on  the  upper  staff  of  the  brace,  repre- 
sented by  the  treble  clef — soprano  the  higher,  and 
alto  the  lower,  notes.  Tenor  and  bass  are  placed  on 
the  lower  staff.  Tenor  takes  the  upper  part  and 
bass  the  lower. 

Score  written  on  Three  Staves.  Whenever  four- 
part  harmony  is  arranged  on  three  staves,  the  differ- 
ent voices  will  usually  be  found  in  the  following 
positions :  tenor  on  the  upper  staff  with  tenor  clef, 
soprano  and  alto  on  the  middle  staff  with  treble  clef, 
and  the  bass  on  the  lower  staff  with  bass  clef. 

Although  the  tenor  is  placed  on  the  higher  staff, 
it  is  not  the  highest  part. '  The  soprano,  as  hereto- 
fore explained,  is  the  highest.  Placing  the  tenor  on 
the  upper  staff  is  for  the  convenience  of  organists, 
who  are  accustomed  to  have  the  soprano,  alto  and 
bass  close  together. 


Q.  On  which  staff  of  the  brace  are  the  soprano 
'  and  alto  placed?  A.  The  upper  staff. 

Q.  Which  is  the  soprano  part '? 

A.  The  higher  notes. 

Q.  Which  the  alto  ?  A.  The  lower. 

Q.  On  which  staff  of  the  brace  is  the  tenor  and 
i  bass  ? 

A.  The  lower  staff,  with  the  bass  clef. 

Q.  Which  part  is  the  tenor? 

A.  The  higher  notes. 
,      Q.  Which  the  bass?  A.  The  lower. 

Q.  When  four-part  harmony  is  arranged  on  three 
J  different  staves,  which  part  is  usually  placed  on  the 
!  upper  staff? 

A.  The  tenor  part. 

Q.  Which  two  parts  on  the  middle  staff? 

A.  The  soprano  and  alto. 

Q.   Which  on  the  lower  staff? 

A.  The  bass. 


ELEMENTAB,  Y  DEPARTMENT. 


45 


Four-part  Harmony  represented  by  Three  Staves. 


Score  Written  on  Four  Staves.     Whenever  four-        Q.  When   four-part  harmony  is    placed   on   four 
part  harmony  is  arranged  on  four  staves  the  follow-   staves,  which  is  the  tenor?  A.  The  upper  staff. 

ing  is  the  position  preferred:  tenor  on  the   upper       Q.  On  which  staff  is  the  alto  ?     A.  The  next  below, 
staff  alto  next  lower,  soprano  the  third  from  the  top,        Q.  Which  is  the  third  staff?  A,  The  soprano, 

and  the  bass  the  lowest.  '      Q.  Which  staff  contains  the  bass?    A.  The  lowest. 

Four-part  Harmony  placed  on  Four  separate  Staves. 
Tenor.  i       s  ,  End.  Repent  from  ber/iiininq  to  Double  Bar. 


q    Alto. 

fj  -0-  -0—0-  -0- 


0—0-0—0 


?=*-*- 


aci^c 


** 


!§ 


S 


n— n--^- 


Soprano. 


o  i  m  it*  j*j  isi  i  *~nr7~!  -1  rry? 


^:- 


wmi 


Bass. 


3S= 1 tJ=J:i_i- 


P 


-0 0-0 0- 


46 


MUSIC  AT  SIGHT. 


Position  of  Solo  Parts  in  the  Score.  When  a  Q.  When  a  single  solo  part  is  arranged  with  in- 
single  solo  part  is  arranged  with  instrumental  ac-  strumental  accompaniment,  on  which  of  the  staves  is 
companiment,  the  voice  part  is  placed  on  the  upper!  the  voice  part  written?  A.  The  upper  staff, 

staff,  and  usually  the  accompaniment  takes  a  middle        Q.  How  are   the   instrumental   parts   usually  ar- 
and  lower  staff.  :  ranged?  A.  On  the  middle  and  lower  staff. 

It    matters   not  which  of  the  voice   parts    is  ar-  j      Q.  Does  it  matter  which  voice  part  is  to  carry  the 
ranged  to  carry  the  solo ;  either  of  them  takes  the  .  solo  ? 
upper  staff.  A.  It  makes  no  difference. 


Single  Voice  Part  with  Instrumental  Accompaniment. 


Voice 


Sometimes  an  instrumental  accompaniment  may        Q.  Is   any   intrumental  accompaniment  arranged 
he  arranged  on  a  single  staff,  but  the  voice  will  still   on  a  single  staff? 
have  the  upper.  A.  Yes  ;  sometimes. 

The  soprano,   alto,  tenor  or  bass  may  form  a  solo       Q.  Does  the  voice  part  still  retain  the  upper  staff? 
part.  A.  It  takes  the  upper. 

Note.      Only   the  best  voices  should   sing  solo  parts.        Q-  M:1>'  either  soprano,  alto,  tenor  or  bass    form  a 
The  voice  part  must  be  prominent:  the  instrumental  is   solo  part  ? 
simply  an  accompaniment  to  the  leading  part.  A.   Either  one  may  take  a  solo  part. 


ELEMENTARY  DEPARTMENT. 


47 


Voice. 


Instrumental  Accompaniment  placed  on  a  Single  Staff. 


Instr. 


§5E 

±4= 


I wEZm 

-J-F-P 


t=l= 


— ,— *— #- 
— I — • — »- 


— I — I H 

-     "I 1- 


-*— %- 


_] e »_ 


1 -rt 


q=t 


-i«— *- 


S 


Two  voices,  or  a  duet,  will  usually  be  carried  by  I      Q.  If  two  voice  parts,  or  a  duet,  is  arranged  with 


the  upper  staff. 

A  duet  may  be  writtteu  on  two  separate  staves ; 
then,  with  the  accompaniment  added,  there  will  be 
four.  The  two  lower  staves  carry  the  accompani- 
ment as  shown  by  the  next  following  example. 


instrumental  accompaniment,  how  are  they  usually 
placed '?  A.  The  duet  is  on  the  higher  staff. 

Q.  May  a  duet  be  arranged  on  two  separate  staves? 

A.  Yes;  then  the  score  with  accompaniment  added 
will  be  on  four  staves. 


Duet  with  Instrumental  Accompaniment. 


Voice. 

t)        -#--#-      -0-  -&-      -S-  -S-  -S-  -*-  -0--0-     -+■  -&-     ^t-t-  -S--S-  -&- 


Instrument. 


:4=5i 


=P=F 


M-d—4 


m\ 


:5rT 


^ 


m^z 


£5 


*r*r* 


w^z 


o- 


5fc 


(See  Practical  Department,  Lesson  XIII.) 


48 


MUSIC  AT  SIGHT. 


Lesson  XIV. 

REPEATS  AND  ENDINGS. 

Repeat.     Dots  placed  across  the  staff. 

We  frequently  find  two  successive  strains,  or  parts 
of  a  tune,  alike.  In  order  to  save  space  only  one 
strain  is  written  out,  and  it  is  then  repeated.  This 
is  effected  by  a  certain  character  called  a  Repeat. 

Varieties  of  a  Repeat.  We  may  make  use  of  a 
repeat  in  four  different  ways,  viz.  : 

1.  Repeat  the  preceding  part. 

2.  Repeat  the  succeeding  part. 

3.  Repeat  both  parts. 

4.  Repeat  from  here. 


Rhythmics. 

TEACHER  AND  STUDENT. 

Q.  What  is  frequently  found  in  music  in  regard  to 
certain  strains,  or  parts  of  a  tune,  which  follow  each 
'  other '? 

A.  They  are  alike. 

Q.  What  is  often  done  in  this  case '? 

A.  Only  one  strain  is  written  out. 

Q.  How  do  we  obtain  the  other  ? 

A.  We  repeat  the  one  written  out. 

Q.  Why  is  this  done?  A.  To  save  space. 

Q.  By  what  is  a  repeat  indicated? 

A.  By  dots  placed  across  the  staff. 

Q.  In  how  many  different  ways  can  a  repeat  be 
used  ?  A.  In  four. 

Q.  What  are  they  ? 

A.  1.  Repeat  the  preceding  part;  2.  Repeat  the 
succeeding  part ;  3.  Repeat  both  the  preceding  and 
succeeding  parts ;  4.  Repeat  from  here. 


Illustration  of  the  Four  Varieties  of  Repeats  placed  on  the  Staff. 

1st,  2d.  3d.  4th. 


m 


m 


The  first  illustration  shows  we.  are  to  go  back  to 
dots  placed  across  the  staff,  like  the  second  and  fourth 
examples;  or  if  there  are  none,  to  a  separate  part, 
such  as  a  change  of  key,  change  of  time,  or  to  a 
chorus  or  double  bur.  If  there  are  none  of  these, 
then  repeat  from  the  beginning. 


Q.  In  the  first  example,  from  where  do  we  repeat? 

A.  From  the  dots  across  the  staff 

Q.  Suppose  there  be  none? 

A.  Repeat  from  a  separate  part,  such  as  change 
of  key,  time,  chorus,  double  bar,  or  from  t^ie  begin- 
ning. 


ELEMENTAR  Y  HEP  A  R  TMENT. 


49 


The  second  illustration  signifies,  repeat  the  part 
which  follows  the  dots  to  the  end  of  that  part  or 
strain,  or  to  the  close.  This  limit  is  usually  indi- 
cated by  the  first  illustration. 

Th*e  third  illustration  signifies,  repeat  both  the 
preceding  and  succeeding  parts. 

Be  guided  by  the  same  rule  as  in  the  first  and 
second  examples. 

The  fourth  example  simply  means,  repeat  from 
here.  It  may  be  used  in  connection  with  any  of  the 
other  three. 

Ending.  When  a  part  is  repeated  there  may  be  a 
few  notes  SB  the  closing  of  the  last,  or  repeated, 
strain  different  from  the  first ;  these  are  called  first 
ending  fin  the  first  strain)  and  second  ending  (the 
close  of  the  repeated  strain).  The  first  time  in 
using  the  strain  which  is  repeated,  omit  the  second 
ending,  and  in  repeating,  omit  the  first  ending  and 
pass  immediately  to  the  second. 

Endings  are  usually  indicated  by  brackets  in  con- 
nection with  the  words, 


"  first  time."  | 


|  "  second  time." 


They  are  also  frequently  pointed  out  by  using  figures 
I  and  2  in  connection  with  a  repeat. 

Note.     The  first  ending  is  only  used  once;   i.  e.,  the 
first  time  passing  over  the  strain.     Should  it  be  uecessary 
to  go  back  to  this  part  after  the  tuue  is  passed  over,  we 
use  only  the  second  ending,  unless  it  forms  the  chorus. 
4 


Q.  How  is  the  limit  in  the  second  illustration  in- 
dicated '? 

A.  Usually  by  the  first  example. 

Q.  How  far  shall  we  sing  if  this  is  not  indicated? 

A.  To  the  end  of  that  part,  or  strain,  or  to  the 
close  of  the  piece. 

Q.  In  the  third  illustration,  requiring  us  to  repeat 
both  the  preceding  and  succeeding  parts,  what  rule 
shall  we  follow  ? 

A.  The  same  as  is  required  in  the  first  and  second. 

Q.  What  does  the  fourth  example  mean  ? 

A.  Repeat  from  here. 

Q.  What  does  it  indicate '? 

A.  It  indicates  by  its  dots  from  what  place  we  are 
to  repeat. 

Q.  May  this  repeat  be  used  in  connection  with 
any  of  the  others  ? 

A.  Yes;  with  all  of  them. 

Q.  When  there  is  a  change  of  a  few  notes  in  the 
closing  of  a  repeated  strain,  how  will  it  be  indi- 
cated '? 

A.  By  a  first  and  second  ending. 

Q.  What  is  necessary  in  using  the  strain  the  first 
time  ? 

A.  Omit  the  second  ending. 

Q.  What  shall  we  do  in  the  repeat  ? 

A.  Omit  the  first  ending  and  pass  immediately  to 
the  second. 

Q.  How  are  endings  indicated  ? 

A.  By  brackets  in  connection  with  the  words. 
••  first  time  "  and  "  second  time." 


50 


MUSIC  AT  SIGHT. 
I 


Illustrations  showing  the  different  Forms  of  Endings.  |      Q-  Are  endings  ever  pointed  out  in  any  other  way'; 

A.  "i  es ;  by  simply  using  figures  1  and  2  in  con- 
nection with  a  repeat. 

Q.  Can  the  first  ending  be  used  oftener  than  the 
first  time?  A.  No. 

Q.  If  after  passing  over  a  tune  we  are  required  to 
close  with  the  repeated  strain,  do  we  not  use  the  first 


Int.  time. 

Si/  Huh. 

A.  No ;  unless  the  repeated  strain  forms  the  chorus. 


(See  Practical  Department,  Lesson  XIV. ) 


Lesson  XV.- 


^— ^ 

m    ~ 

m 

-I — 1 — 

Only  the  first  note  of  a  tie  is  sounded,  and  it  is  held 
to  the  value,  or  duration,  of  all  connected;  they 
really  represent  only  one  sound.  Usually  the  exact 
value  of  the  notes  connected  by  a  tie  could  not  be 
represented  in  a  single  note,  nor  in  any  other  way, 
hence  we  must  use  the  tie. 

If  any  two  notes,  equal  in  value,  become  a  tie,  it 
will  be  noticed  that  in  one  or  more  of  the  stanzas 
there  are  two  syllables,  or  words,  to  be  used  to  the 
same,  and  in  others  on 
regarded   in   the  forme 


Miscellaneous. 

THE  TIE.  TEACHER  AND  STUDENT. 

When   a  short  curve   connects  two  or  more  notes        Q.   When    a   short   curve    connects    two   or   more 
on  the  same  degree  of  the  staff,  or  added  degrees,  !  notes  on  the  same  degree,  what  are  they  said  to  be  ? 
they  are  said  to  be  a  tie,  meaning  one.  A.  A  tie. 

Q.  What  is  the  meaning  of  a  tie?  -1.  One. 

Q.  In  singing  the  notes  of  a  tie  what  is  required  ? 
A.  The  first  note  only  is  sounded  and  held  to  the 
duration  of  all  connected. 

Q.  What  does  a  tie  really  represent? 
A.  One  pitch. 

Q.  If  a  tie  is  really  one,  why  not  write  it  in  one  note? 
A.  The  value  of  a  tie  could  not  usually  be  repre- 
sented by  one  note. 

(}.  What  will  be  noticed  when  two   notes  equal  in 
value  are  a  tie? 

A.  In  one  or  more  of  the  stanzas  there  would  be 
one.  The  tie  must  be  dis-  two  syllables,  or  words,  apportioned  to  the  same, 
instance,   and    observed  in    and  in  others  only  one. 


ELEMEXTAR  Y  DEPA R TMEXT. 


51 


the  latter.     Again,  notes  of  equal  value  in  two  dif-       Q.  Do  not  notes  in  two  different  measures  some- 
ferent  measures  may  become  a  tie;  these  could  not  times  form  a  tie  that  one  note  could  represent? 
be  represented  by  a  single  note,  as  they  are  placed       A.  No;  being  placed  in  two  measures,  one  note 
in  different  measures.  |  could  not  represent  them. 

Example  of  different  Forms  of  a  Tie. 

I      !      I      N  


1 


II: 


1 E 


:.^=z 


w—S     *     *- 


-  = 


In  either  of  the  above  examples  all  the  notes  con- 
nected are  one  sound  prolonged  to  the  value,  or 
duration,  shown  by  the  notes. 


Pause. 
dot. 


A  short  curve  placed  under  or  above  a 


T\ 


\& 


This  sign  means  to  prolong,  hold  or  dwell  beyond 
the  time  or  duration  indicated  by  the  note,  or  rest, 
over  or  under  which  it  is  placed. 

The  duration  of  a  pause  is  not  definite ;  we  pro- 
long sufficient  to  give  suitable  emphasis  to  the  cer- 
tain passage  or  sentence.  There  is  generally  a  dif- 
ferent expression,  or  shading,  to  the  succeeding 
sentence. 

When  a  pause  is  placed  over  or  under  a  rest,  we 
must  prolong  the  silence. 

Sometimes  a  pause  is  placed  over  or  under  a  dou- 
ble bar.  It  represents  the  place  for  the  end.  It  is 
often  employed  in  Da  Qtpo,  and  in  Dal  Segno,  to  de- 
note the  ending. 


Q.  What  must  be  done  where  two  syllables  belong 
to  a  tie?  A.  The  tie  is  disregarded. 

Q.  Are  all  the  notes  connected,  in  the  above  exam- 
ples, really  only  one  sound  prolonged  to  the  value 
shown  by  them?  A.  They  are  one  sound. 

Q.  When  a  short  curve  is  placed  over  or  under  a 
dot,  what  is  it  called?  A.  A  pause. 

Q.   What  does  a  pause  indicate  ? 

A.  To  hold,  dwell  or  prolong  beyond  the  time 
indicated. 

Q.  When  placed  over  or  under  a  note,  what  shall 
we  prolong?  A.  The  tone. 

Q.  When  placed  over  or  under  a  rest  ? 

A.  We  prolong  the  silence. 

Q.  Is  there  any  definite  duration  ? 

A.  So  definite  time  is  indicated. 

Q.  How  long  then  must  we  dwell,  or  what  must  be 
observed  ? 

A.  To  prolong  sufficient  to  give  suitable  expres- 
sion or  emphasis. 

Q.  What  does  a  pause  placed  over  a  double  bar 
indicate?         A.  The  end — the  place  for  the  ending. 


52 


MUSIC  AT  SIGHT. 


Pause  over  a  Note,  Rest  and  Double  Bap. 


li  vE* 


-i- 


ag^ 


"  Unto  Him  the  dominion  and  glory  be  given." 

Should  a  pause  stand  over  a  certain  note  in  one 
part  of  the  harmony  (say  a  dotted  half  note)  and 
another  part  have  two  or  more  notes  equal  to  its 
value,  let  that  part  prolong  on  the  last  note. 

A  pause  over  a  single  bar  means  simply  a  short 
suspension — breathing  time. 

Da  Capo.     Beginning.     From  the  beginning. 

For  convenience,  or  if  there  be  not  sufficient  space 
to  finish  the  tune,  and  the  ending  strain  is  like  the 
first  part  of  the  tune,  we  may  continue  from  the 
beginning  and  close  at  a  place  indicated. 

This  is  indicated  by  the  letters  D.  C,  standing  for 
Da  Capo,  which  means  from  the  beginning.  The 
continuation  is  from  the  beginning  of  the  tune,  so 
never  look  for  the  same  at  any  other  part ;  it  means 
from  the  beginning. 

Note.  Some  compositions  have  a  prelude,  or  introduc- 
tion ;  that,  of  course,  would  not  be  the  proper  beginning. 

D.  C. 


Dal  Segno.     From  the  sign,  :g.\ 

If  the  part  needed  to  finish  with  be  at  some  other 


Q.  May  a  pause  stand  over  or  under  a  certain 
note  in  one  part  of  the  harmony,  and  the  others 
have  two  or  more  notes  equal  to  it  in  value? 

A.  Yes;  in  this  case  the  last  note  only  will  be 
prolonged  ? 

Q.  If  a  pause  is  placed  over  a  single  bar,  what 
shall  be  observed  ? 

A.  Short  suspension — breathing  time. 

Q.  If  a  closing  part  of  a  tune  be  the  same  as  its 
first,  what  is  sometimes  done  for  convenience? 

A.  Go  to  the  beginning  and  end  with  the  first  part. 
What  letters  have  we  to  indicate  this  ? 
The  letters  D.  C. 
What  do  they  mean  ? 
Da  Capo. 
What  is  meant  by  Da  Capo  ? 

A.  From  the  beginning. 

Q.  Does  it  mean  to  go  to  the  beginning  of  the 
tune  and  continue  to  a  closing  part  ? 

A.   Yes;  this  is  the  closing  part  of  the  music. 

Q.  Do  we  ever  find  the  continuation  of  D.  C.  any- 
where else  than  the  beginning? 

A.  Never. 

Q.  If  a  composition  has  some  other  part  than  the 
beginning  suitable  for  its  closing  strain,  what  letters 
tell  us  where  to  go  ? 

A.  D.  S. 

Q.  What  do  the  letters  D.  S.  mean? 

A.  Dal  Segno. 

Q.  What  is  the  meaning  of  Dal  Segno  ? 

A.  From  the  sign,  :$:. 


A. 

Q. 
A. 
0. 


ELEMESTAK  Y  DEPARTMENT. 


53 


portion  of  the  tune  than  the  beginning,  we  indicate 
the  place  from  which  to  continue  by  a  sign,  thus:  :$.•. 
Attention  to  this  sign  is  called  by  the  letters  D.  S., 
meaning  Da!  Segno,  or  from  the  sign  igo  to  the  sign 
to  continue).  This  sign  may  be  placed  in  any  part 
of  the  tune,  and  the  tune  usually  ends  with  that 
part.  Sometimes  the  term  D.  C.  ut  Segno  is  used ;  it 
simply  means,  from  the  beginning  where  the  sign 

(:&•)  is. 

:g:  D.  S. 


Fine  (pronounced   Feenay)  means  the  end,  finish 
or  close. 
The  tune  ends  here  after  either  a  repeat,  D.  C.  or 

D.  S. 

Fine.    - 


Coda.     Added  ending;  for  the  last  time  only. 

Certain  pieces  of  music  have  more  than  one  clos- 
ing part ;  all  but  the  last  verse  may  close  with  one 
particular  part,  but  the  last  verse  has  a  special,  or 
an  added,  ending.  This  is  indicated  by  the  term 
Coda,  a  closing  part  for  the  last  time. 
Coda. 


Syncopation.    To  syncopate;  to  change  the  accent; 
to  accent  an  unaccented  part  of  a  measure. 


Q.  Does  this  mean  to  continue  from  the  sign,  no 
matter  where  it  may  be  placed '? 

A.  It  means  from  the  sign,  no  matter  where  it 
may  be  placed. 

Q.  What  is  the  meaning  of  D.  C.  ut  Segno1! 

A.  About  the  same  as  D.  iS'. ;  it  says  from  the  be- 
ginning where  the  sign  is. 

Q.  What  is  meant  by  the  term  Fine  ? 

A.  It  means  the  end,  finish  or  close. 

Q.  Would  the  tune  proper  end  here '? 

A.  Yes. 

Q.  Are  there  any  pieces  of  music  that  ever  have 
more  than  one  ending  or  closing  part  ? 

A.  Yes;  a  tune  may  have  an  added  ending. 

Q.  How  is  an  added  ending  applied  ? 

A.  It  would  form  a  closing  part  for  the  last  verse 
only. 

Q.  What  term  is  used  to  name  this  added  end- 
ing'? A.  Coda. 

Q.  Can  a  coda  be  used  for  any  other  time  than 
the  last  ? 

A.  Never  for  any  but  the  last  ending. 

Q.  What  is  meant  by  syncopation  ? 

A.  To  change  the  accent. 

Q.  What  is  meant  by  changing  the  accent '? 

A.  To  accent  an  unaccented  part  of  a  measure. 

Q.  Why  is  this  done '? 

A.  Sometimes  it  is  required  to  preserve  the  em- 
phasis of  the  words. 

Q.  Must  the  emphasis  always  be  preserved '? 

A.  Whenever  it  is  possible. 


54 


MUSIC  AT  SIGHT. 


A  measure  in  triple  time,  y,  may  have  an   eighth 

note,  a  dotted  quarter  and  a  quarter  note.  Here  we 
would  accent  the  eighth  note  and  pass  it  to  the 
dotted  quarter,  or  to  the  second  beat  note.  The 
value  of  the  eighth  note  is  only  one-half  the  dura- 
tion of  the  first  or  accented  beat,  and  hence  the  ac- 
cent passes  on  to  the  second  note,  which  being  a 
dotted  quarter,  carries  the  accent  to  the  second 
beat.  Should  a  certain  word  require  the  emphasis 
on  a  syllable  which  would  fall  to  the  unaccented 
part  of  a  measure,  we  must  accent  that  part  as  re- 
quired by  such  emphasis  whether  the  music  [daces 
its  accent  there  or  not. 

It  is  a  gross  fault  for  an  author  of  words  not  to 
equalize  the  measurement  of  his  metre  so  as  to  have 
the  emphasis  alike  in  all  the  stanzas.  The  writer 
has  made  it  a  rule  not  to  use  such  productions,  as  he 
is  not  inclined  to  sacrifice  his  musical  accent  unless 
absolutely  required. 

Sometimes  syncopation  is  very  necessary  ;  see  the 
following  examples — good,  faulty  and  bad. 


Q.  Must  the  accent  in  music  be  sacrificed  in  order 
to  preserve  the  emphasis  of  the  words  ? 

A.  At  times  it  may  be  unavoidable. 

Q.  Is  it  not  generally  a  gross  fault  for  an  author 
of  words  to  write  his  stanzas  unequal  in  measure- 
ment ? 

A.  It  is. 

Q.   Is  syncopation  sometimes  very  acceptable  ? 

A.  It  often  gives  a  very  beautiful  expression. 

Q.  What  should  be  avoided  in  syncopation  ? 

A.  The  faulty  and  the  very  bad. 

Q.  Would  a  writer  of  music  be  justified  in  reject- 
ing stanzas  from  an  author  where  violent  sacrifice 
of  musical  accent  is  required  ? 

A.  He  should  not  touch  them  unless  he  first  had 
the  fault  corrected. 

Q.  Are  there  not  very  precious  hymns  in  which 
some  of  the  words  absolutely  require  that  the  musi- 
cal accent  be  sacrificed  ? 

A.  Yes;  but  in  such  cases  the  merit  of  the  words 
is  sufficient  to  justify  a  change  of  accent,  and  make 
l  syncopation  very  acceptable. 


Good. 


mm 


£-£ 


Faulty. 


Bad. 


1 


3 


#=! 


So    all      en  -  dear-ing,      lu    the,  etc.        Je  -  sns,    we,  etc.  De-  pencl-ing,  etc. 

(See  Practical  Department,  Lesson  XV.) 


ELEMENT  A  R  Y  DEPARTMENT. 


00 


Lesson  XVI 

SIGNATURES— Sharps,  Flats  and  Naturals. 
Sharp  ($).     A  character  which   raises   the   pitch 
of  the  degree  on  which  it  is  placed  a  half  step. 

A  Double  Sharp  fx)  raises  the  degree  a  step  in 
pitch. 

Flat  (?).  A  character  which  lowers  the  pitch  of 
the  degree  on  which  it  is  placed  a  half  step. 

A  Double  Flat  (PP)  lowers  the  degree  a  step  in 
pitch. 

Natural  (£]).  A  character  which  restores  a  degree 
to  its  natural  pitch ;  i.  e.}  removes,  or  cancels,  the 
effect  of  any  of  the  above  characters. 

Note.  A  natural  does  uot  lower  or  raise  the  pitch  of 
any  degree  directly,  only  in  so  far  as  the  character  affect- 
ing  the  degree  is  removed.  A  natural  will  cancel  a  double 
flat  or  double  sharp  just  as  if  it  were  simply  a  single  flat 
or  sharp. 

Signature.  Sharps,  flats  and  naturals  placed  on 
fixed  degrees  at  the  beginning  of  a  staff  immediately 
following  the  clef. 

Signature  indicates  the  key  in  which  a  piece  of 
music  is  written.  The  key  of  any  piece  of  music 
may  be  changed  from  the  original  by  placing  a  new 
signature  next  to  a  double  bar  during  the  continu- 
ance of  the  start". 


,  — Melodies. 

TEACHER  AND  STUDENT. 

Q.  What  effect  has  a  sharp  when  placed  upon  a 
degree  of  the  staff? 

A.  It  raises  the  pitch  of  that  degree  a  half  step. 
•     Q.  What   is  the  effect  of   a  double  sharp  when 
placed  on  any  degree  ? 

A.  It  raises  the  same  natural  degree  in  pitch  a 
step. 

Q.  What  effect  has  a  flat  on  the  degree  of  the  staff 
on  which  it  is  placed  ? 

A .  It  lowers  or  flattens  the  pitch  of  that  degree  a 
half  step. 

Q.  What  is  the  effect  of  a  double  flat? 

A.  It  lowers  the  natural  pitch  of  the  degree  a  step. 

Q.  How  is  a  degree  of  the  staff  affected  by  a 
natural  ? 

A.  A  natural  cancels,  or  removes,  the  effect  of  a 
flat,  sharp,  double  flat  or  double  sharp. 

Q.  Does  a  natural  then  really  restore  a  degree  to 
its  natural  pitch  ?  A.  Yes. 

Q.  What  are  sharps  and  flats,  when  fixed  on  cer- 
tain degrees  at  the  beginning  of  a  staff  immediately 
after  the  clef,  called  ?  A.  Signatures. 

Q.  Can  the  key  of  a  piece  of  music  be  changed 
from  the  original  during  its  course  7 

A.  Yes;  a  new  signature  can  be  introduced  and 
the  key  changed. 

Q.  How  shall  this  new  signature  be  placed  ? 

A.  Next  to  a  double  bar. 


56 


MUSK'  AT  SIGHT. 


Consideration  of  Signatures,  their  Position,  etc. 

Signatures  are  not  considered  according  to  the  num- 
ber of  characters,  i.  p.,  sharps  or  Hats,  but  according 
to  the  new  pitches  produced  by  them  upon  the  de- 
grees of  the  staff.  We  may  place  a  sharp  upon  the 
fifth  line  of  the  staff  in  the  treble  clef,  and  also  on 
the  first  space,  yet  we  have  only  one  new  pitch,  FJf, 
just  as  though  we  had  but  one  sharp.  The  sharp 
removes  pitch  F  and  in  its  stead  we  have  F#.  It 
is  not  material  whether  the  character  is  on  the  fifth 
line  or  on  the  first  space,  both  being  pitch  F,  but 
usage  has  fixed  the  position  on  the  fifth  line  and  we 
follow  the  same  order. 

F  Sharp  Signatures. 


Effect  of  Signatures  on  the   Degrees  of  the  Staff. 

Signatures,  when  placed  upon  the  degrees  ot  the 
staff,  affect  the  pitches  of  the  letters  naming  those 
degrees  wherever  they  may  be  found,  either  on  the 
staff  or  on  the  added  degrees. 

Pitch  Name  of  the  Signature.  In  the  above 
example,  pitch  F,  the  fifth  line  and  also  the  first 
space  is  sharp  by  the  signature.  In  naming  the 
new  pitch  we  retain  the  letter  and  add  the  effect 
produced  upon  this  same  pitch;  hence  we  sav, 
Fff- 


Q.  Must  every  staff  have  the  signature  placed  at 
its  beginning  ? 

A.  Yes;  every  staff  must  show  the  key  in  which 
the  music  is  written. 

Q.  What  constitutes  signatures,  the  number  of  flats 
and  sharps  or  the  new  pitches  produced  by  them  ? 

A.  The  new  pitches. 

Q.  Upon  how  many  pitches  may  the  key-note  be 
placed  ? 

A.   Either  of  the  seven. 

Q.  How  do  signatures  change  our  key? 

A.  Their  effect  upon  the  degrees  of  the  staff  is  to 
change  the  order  of  intervals  of  the  natural  scale. 

Q.  What  effect  has  the  signature  of  one  sharp  on 
the  fifth  line  of  the  treble  clef? 

A.  It  raises  it  in  pitch  a  half  step. 

Q.  Does  it  affect  any  other  degree  ? 

A.  Yes;  the  first  space. 

Q.  Why  the  first  space  ? 

A.  Because  it  is  the  same  pitch  as  the  fifth  line. 

Q.  Does  a  signature  then  affect  the  pitches  upon 
which  it  is  placed  wherever  found? 

A.  Yes. 

Q.  Would  it  make  any  difference  were  the  signa- 
ture of  one  sharp  placed  on  the  first  space  as  well  as 
the  fifth  line,  or  in  its  stead  ?  A.  No. 

Q.  Why  do  we  place  it  on  the  fifth  line  ? 

A.  Because  usage  has  fixed  it  there. 

Q.  What  is  the  pitch  name  of  the  signature? 
-  A.  F+f. 


[See  Practical  Department,  Lesson  XVI.) 


ELEMENT,  t  R  Y  DEPA  R  TMENT. 


Lesson  XVII.— Melodies. 


TRANSPOSITION  BY  SHARPS  AND  FLATS. 

Transposition.  Moving  or  changing  to  another 
key. 

Signatures  Placed  on  the  Staff.  When  sharps, 
flats  and  naturals  become  signatures  they  take  a 
fixed  position  upon  certain  degrees  of  the  staff*  and 
cannot  be  placed  on  any  others,  nor  can  their  order 
of  succession  be  changed. 

Position  of  the  Half  Steps.  It  has  been  noticed 
that  the  half  steps  must  come  between  tones  three 
and  four  and  seven  and  one  in  the  diatonic  scale. 
This  will  fit  the  half  steps  of  our  scale  to  the  half 
steps  of  the  staff,  between  E  and  F  and  B  and  C,  in 
our  natural  key.  Now,  if  a  sharp  ($)  be  placed  up- 
on degree,  or  pitch,  F,  the  effect  of  which  will  be  to 
raise  that  degree  or  pitch  a  half  step,  we  will  have  a 
whole  step  between  E  and  Fjf.  This  will  disarrange 
our  diatonic  scale,  leaving  a  whole  step  between 
three  and  four  and  but  a  half  step  between  four  and 
five.  We  must,  therefore,  find  a  new  resting-place 
for  our  key-note,  so  as  to  retain  the  half  steps  in 
their  proper  position?.  ' 

New  Position  of  the  Key-note.  The  quickest  way 
to  detect  the  new  position  of  our  key-note  is  that  the 
pitch,  or  letter,  upon  which  the  last,  or  right  hand, 
sharp  has  been  placed  represents  tone  seven  of  our 
new  scale,  and  the  next  degree  above,  therefore,  will 


TEACHER  AND  STUDENT. 

Q.  What  is  transposition  ? 

A.  Moving  or  changing  from  one  key  to  another. 

Q.  When  sharps,  flats  and  naturals  take  certain 
fixed  positions  on  the  staff,  what  do  they  become? 

A.  Signatures. 

Q.  Could  not  signatures  be  placed  upon  amy  de- 
gree of  the  staff? 

A.  No;  they  have  their  fixed  position  and  cannot 
be  changed. 

Q.  Must  the  half  steps  come  between  tones  three 
and  four  and  seven  and  one  in  the  new  key,  as  in 
the  model  scale  ? 

A.  They  cannot  be  placed  between  any  other  tones 
of  the  scale. 

Q.  If  a  sharp  be  placed  on  pitch  F,  making  it  F£, 
what  kind  of  an  interval  will  result  between  E  and 
F#.  A.  A  step. 

Q.  Would  this  disarrange  our  model  scale? 

A.  Yes;  it  would  put  an  interval  of  a  step  between 
three  and  four  and  a  half  step  between  four  and  five. 

Q.  What  then  must  we  do  in  order  to  preserve  the 
interval  of  a  half  step  between  tones  three  and  four? 

A.  We  must  find  a  new  position  for  our  key-note. 

Q.  What  is  our  best  guide  to  instantly  detect  the 
new  position  of  our  key-note  in  transposition  by 
sharps  ? 

A.  The  last  or  right  hand  sharp  becomes  tone  seven 
of  the  new  scale. 


58 


MUSIC  AT  SIGHT. 


represent  tone  one.  or  onr  key-note.  In  flats,  the 
last  one  placed  upon  the  staff  shows  tone  four  of  the 
new  scale,  and  when  two  or  more  flats  constitute  the 
signature,  the  one  next  to  the  last  shows  the  key- 
note. 

In  the  example  given  below  the  last  sharp  repre- 
sents tone  seven  of  the  new  scale,  and  tone  one, 
or  Do,  is  on  the  next  degree  above  the  pitch  or  our 
key-note. 


Q.   Is  there  any  other  guide? 

A.  The  degree  above  the  last  sharp  becomes  the 
pitch  of  the  key-note. 

Q.  What  is  our  guide  in  transposition  by  flats'? 

A.  The  last  flat  is  always  tone  four  of  the  new  scale. 

Q.  What  is  our  guide  when  two  or  more  flats  com- 
prise the  signature? 

A.  The  flat  preceding  the  last  one  shows  the  de- 
gree which  represents  the  pitch  of  the  key-note. 


Example  Showing  the  Quickest  Way  to  Detect  the  New  Position  of  the  Key-note  in  both  Clefs. 


rb—  ^zx^:^i=z=M-f^§-^z^=i-f^^z -  stress ,_#-c=£tfcz^i=J 


The  last  flat  shows  tone  four  of  the  new  scale,  and  Q.  In  the  example,  which  tone  of  the  new  scale  is 
counting  up  or  down  to  one,  we  find  our  key-note  ,  found  on  the  degree  showing  the  signature  of  one 
placed  on  that  degree.  I  sharp?  A.  Tone  seven. 

Q.  Where  is  the  key-note  ? 

Again,  in  two  or  more  flats,  the  one  preceding  the  j  J.  The  next  degree  above,  or  countdown  to  de- 
last  shows  tone  one,  or  Do.  ,  o-ree  one. 

Q.  Which  tone  of  the  new  scale  is  shown  bv  the 

that  tone  one  shows    j  ,  .  ■    ,,      ,     .         •   ,  ,  ,       .,  fl      •    _i.„_jo 

j  degree  on  which  the  last  or  right  hand  flat  is  placed.' 


Note.  The  student  will  remember 
the  key-note ;  hence  we  count  the  syllable  Do  from  that 
position.  The  same  rule  will  hold  good  in  all  the  different 
keys:  also  the  letter  or  the  pitch  naming  the  key  shows 
the  key-note. 

Order  of  Signatures.  Sharps  assume  the  position 
of  pitch  lour  of  the  preceding  key,  and  the  key-note 
is  placed  one  degree  above  it. 


A.  Tone  four. 

Q.  Are  the  terms,  tone  one.  Do  ami  key-note 
applied  to  the  same  tone? 

A.  They  are,  in  the  diatonic  scale. 

Q.  What  is  the  order  of  signatures  by  sharps? 

A .  They  assume  the  position  of  pitch  four  of  the 
preceding  key. 


EL EMEN T. [RY  D KP. I R TMENT. 


59 


Flats  assume  the  position  of  pitch  seven  of  the 
preceding  key,  and  the  key-note  is  placed  four  de- 
grees below  it. 


Q.  Where  is  the  key-note  placed  ? 

A.  On  the  degree  above. 

Q.  What  is  the  order  of  signatures  by  flats  ? 

A.  Thev  assume  the  position  of  pitch  seven  of  the 
Note.    The  student  is  urged  to  examine  the  pitches  of  '  L 

these  examples  to  ascertain  whether  the  half  steps  in   preceding  key. 

either  change  of  scale  are  still  to  be  found  between  three 


and  four  and  seven  and  one. 


Q.  Where  do  we  find  the  key-note  ? 
A.  Four  degrees  below. 


Examples  Showing  the  Order  of  Signatures  in  Transposition  by  Sharps  and  Flats. 


=t 


-»— *-»■ 


^0^*- 


-|- 


-&5 :     >1 


i=*= 


afcfc 


-v 


nnyi 


Absolute  Pitch.     It  will  be  noticed  that  the  letters  Q.  Are  the  half  steps  in  the  examples  found  he- 

of  the  staff  do  not  change,  but  the  scale  is  simply  re-  tween  tones  three  and  four  and  seven  and  one? 

moved  to  that  pitch,  which  was  tone  five  of  the  pre-  A.  The  half  steps  cannot  be  changed, 

vious  scale  by  sharps,  and  tone  four  of  the  preceding  Q.  What  has  been  moved  to  a  new  position  upon 

scale  bv  flats.  the  staff.                                       A,  The  scale. 


#=|=r-==prl  |gpp-T^=^I  S^^ggrjprf^g H~ 


5— -g-*-i-« — •- 


r 


Pf^SE^^ggB^^I^gfe^ 


(See  Practical  Department,  Lesson  XVII.) 


eo 


MUSIC  AT  SIGHT. 


Lesson  XVIII.— Melodies. 

TRANSPOSITION,  KEYS  AND  SIGNATURES. 

By  Sharps. 


'- — f-FEfi — -^«— rep     '  ^  f<^>- — ^^— -rgy    *-+ — fm — *— r>±— a— h 


Key  of  G. 

[ 
--         W  I 


Guide.— G 


I 


•2= 

cat 


J 


Fit 


D — own 


A— nd  E— at 

TEACHER  AND  STUDENT. 


B — reakfast 


F#— irst. 


Q.  What  is  the  signature  of  the  key  of  G? 

.4.  One  sharp. 

Q.  The  key  of  D  ? 

A.  Two  .sharps. 

Q.  Key  of  A  ? 

^1.  Three  sharps. 

Q.  Key  of  E  ? 

vi.  Four  sharps. 

Q.  Key  of  B? 

A.  Five  sharps. 

Q.  Key  of  F£? 

.1.  Six  sharps. 

o.  Why  F#? 

J.  Because  the  pitch  F  is  sharp. 


Q.  Which  pitch  is  made  sharp  by  the  signature 
oue  sharp,  key  of  G  ? 

A.  F. 

Q.  Which  pitches  are  affected  by  the  signature 
two  sharps,  kev  of  D '? 

A.  FandC. 

Q..  Three  sharps,  kev  of  A? 

A.  F,  C  and  G. 

Q.  Four  sharps,  key  of  E  ? 

A.  F,  C,  G  and  D. ' 

Q.  Five  sharps,  kev  of  B '? 

A.  F,  C,  G,  D  and  A. 

Q.  Six  sharps,  keyofFJf? 

A.  F,  C,  G,  D,  A  and  E. 


ELEMENTARY 

DEPARTMEST. 

61 

Q.  The  signature  of  one  sharp  places  the  key-note, 

Q.  Four  sharps  ? 

or  Do,  on  which  degree  of  the  staff  in  the  treble  clef? 

A.  First  line  and  fourth  space. 

A.  On  the  second  line. 

Q.  Five  sharps'?                           A.  Third  line. 

Q.  Two  sharps  ? 

Q.  Six  sharps  ? 

A.  Fourth  line. 

A.  First  space  and  fifth  line. 

Q.  Three  sharps  ? 

Q.  What  guide  have  we  by  sharps  ? 

A.  Second  space. 

A.  Go  Down  And  Eat  Breakfast  FJfirst. 

By  Flats. 


piUg 


Ab 


fei^Bia^a^MtB»fc<u4qis^paaa^^ 


Guide. — F — our 


Bp — oys 


Ep— at 


Ap— pple 


Dp — umplings 


G^ — reedily. 


Q.  What  is  the  signature  of  the  key  of  F  ? 
A.  One  flat. 
Q.  The  key  of  BW  ? 
A.  Two  flats.  ' 
Q.  Key  of  Efcy  ? 
A.  Three  flats. 
Q.  Key  of  A?  ? 
A.  Four  flats. 

Q.  Key  of  Db  ?  A.  Five  flats. 

Q.  Key  of  G(?  ?  J.  Six  flats. 

Q.  Which  pitch  is  affected  by  the  signature  one 
flat,  key  of  F  ?  A.  B. 


Q.  Two  flats  ? 

A.  B  and  E. 

Q.  Three  flats  ? 

A.  B,  E  and  A. 

Q.  Four  flats  ? 

A.  B,  E,  A  and  D. 

Q.  Five  flats  ? 

A.  B,  E,  A,  D  and  G. 

Q.  Six  flats  ? 

A.  B,  E,  A,  D,  G  'and  C. 

Q.  What  guide  have  we  by  flats  ? 

A.  Four-  Boys  Eat  Apple  Dumplings  Greedily. 


62 


MUSIC  AT  SIGHT. 


Transposed  Scale.  Below  is  given  an  illustration  of  the  effect  of  the  keys  and  signatures  on  the  degrees 
of  the  staff  and  added  degrees,  indicating  the  new  pitches  introduced,  the  change  of  key,  etc.  The  tone 
ladder  with  its  pitch  and  scale  names  placed  ou  the  staff  in  both  the  treble  and  bass  clefs  is  also  shown. 
Observe  that  when  a  signature  is  placed  upon  a  degree  of  the  staff,  the  pitch  of  that  degree,  as  indicated 
by  the  tone  ladder,  is  raised  or  lowered  a  half  step  according  to  the  signature,  whether  fiat  or  sharp. 


Note.  The  only  pitch  remaining  natural  in  transposition  bysharps  is  B.  and  in  transposition  by  flats.  F.  while  B  is 
the  first  pitch  affected  in  transposition  by  flats  ( i.  e.,  the  signature  is  placed  upon  it),  and  F  in  transposition  by  sharps. 

(See  Practical  Department,  Lesson  XVIII.) 


ELEMESTAR Y  DEPARTMENT. 


63 


Lesson  XIX.— Melodies. 


INTERVALS  OF  THE  DIATONIC  SCALE. 

Interval.  The  difference  in  pitch  between  any 
two  tones  of  the  scale ;  i.  e.,  the  distance,  so  to  say, 
from  any  one  tone  to  any  other  is  an  interval. 

Intervals  are  reckoned  upward  unless  otherwise 
specified. 

Unison.  Two  tones  of  the  same  pitch  are  said  to 
be  in  unison. 

Seconds.  The  interval  from  any  one  tone  to  its 
next  higher  one  is  called  a  Second. 

Thirds.  The  interval  from  any  one  tone  to  its 
next  third  higher  is  called  a  Third. 

Fourths.  The  interval  from  any  one  tone  to  its 
next  fourth  higher  is  called  a  Fourth. 

Fifths.  The  interval  from  any  one  tone  to  its 
next  fifth  higher  is  Called  a  Fifth. 

Sixths.  The  interval  from  any  one  tone  to  its 
next  sixth  higher  is  called  a  Sixth. 

Sevenths.  The  interval  from  any  one  tone  to  its 
next  seventh  higher  is  called  a  Seventh. 

Note.  Intervals  cannot  be  counted  from  any  higher 
tone  downward,  else  they  would  be  inverted.  Seconds 
would  become  sevenths — i.  e  ,  Do  to  Si, — thirds  would  be- 
come sixths,  etc. ;  also  minors  would  become  majors  and 
majors  miuors. 


TEACHER  AND  STUDENT. 

Q.  What  is  the  difference  in  pitch  betw 


een  any 


upward, 
rise  spec- 


two  tones  of  the  scale  called '? 

A.  An  interval. 

Q.  How  are  intervals  reckoned,  counting- 
downward,  or  both  ? 

A.  Intervals  reckon  upward  unless  otherwi: 
ified. 

Q.  Of  what  does  unison  consist? 

A.  The  same  pitch. 

Q.  What  is  a  Second  ? 

A,  The   interval   from  any  one  tone  to  its  next 
higher. 

Q.  What  is  a  Third  ? 

A.  The  interval  from  any  one  tone   to   its  next 
third  higher. 

Q.  What  is  a  Fourth  '? 

A.  The  interval  from  any  one  tone   to   its  next 
fourth  higher. 

Q.  What  is  a  Fifth  ? 

A.  The  interval  from  any  one   tone   to  its  next 
fifth  higher. 

Q.  What  is  a  Sixth  ? 

A.  The  interval  from  any  one  tone   to  its  next 
sixth  higher. 

Q.  What  is  a  Seventh  ? 

A.  The   interval  from  any   one   tone  to  its  next 
seventh  higher. 


64 


MUSIC  AT  SIGHT. 


Eighth  or  Octave.  The  interval  from  any  one 
tone  to  its  next  eighth  higher  is  called  an  Octave. 

Major  Intervals.  It  will  be  noticed  that  these  dif- 
ferent intervals  are  not  all  alike  ;  i.  e.,  the  difference 
in  pitch  is  greater  between  some  than  between  others 
of  the  same  kind.  The  larger  are  called  Major  In- 
tervals. 

Minor  Intervals.  Intervals  where  the  difference  in 
pitch  is  less  than  the  major  are  called  Minor  Intervals. 


Q.   What  is  an  Octave  ? 

.1.  The  interval  from  any  one  tone  to  its  next 
octave  higher. 

Q.  Are  these  intervals  of  seconds,  thirds,  etc.,  all 
alike,  or  are  some  larger  and  others  smaller? 

A.  Some  are  larger,  others  smaller. 

Q.  What  are  the  larger  ones  called  ? 

A.  Major  intervals. 

Q.  What  the  smaller  ? 

A.  Minor  intervals. 


Major  and  Minor  Intervals  of  the  Diatonic  Scale. 


Minor  Second.  A  second  consisting  of  a  half  step 
(Mi  to  Fa)  is  called  a  Minor  Second. 

Major  Second.  A  second  consisting  of  one  step, 
(Do  to  Re)  is  called  a  Major  Second. 

Minor  Third.  A  third  consisting  of  one  step  and 
a  half  step  (Re  to  Fa)  is  called  a  Minor  Third. 

Major  Third.  A  third  consisting  of  two  steps  (Do 
to  Mi)  is  called  a  Major  Third. 

Perfect  Fourth.  A  fourth  consisting  of  two  steps 
and  one  half  step  (Do  to  Fa)  is  called  a  Perfect 
Fourth. 

Sharp  Fourth.  A  fourth  consisting  of  three  steps 
(Sol  to  Si)  is  called  a  Sharp  Fourth. 

Flat  Fifth.  A  Fifth  consisting  of  two  steps  and 
two  half  steps  (Si  to  Fa)  is  called  a  Flat  Fifth. 

Perfect  Fifth.  A  fifth  consisting  of  three  steps-and 
one  half  step  (Do  to  Sol)  is  called  a  Perfect  Fifth. 


Q.  Of  what  does  a  minor  second  consist? 

A.  A  minor  second,  i.  e..  Mi  to  Fa,  etc.,  consists 
of  a  half  step. 

Q.  Of  what  does  a  major  second  consist? 

A.  One  step. 

Q.  Of  what  does  a  minor  third  consist  ? 

A.  One  step  and  a  half  step. 

Q.  Of  what  does  a  major  third  consist  ? 

A .  Two  steps. 

Q.  Of  what  does  a  perfect  fourth  consist  ? 

A.  A  perfect  fourth  consists  of  two  steps  and  a 
half  step. 

Q.  Of  what  does  a  sharp  fourth  consist? 

A.  Three  steps. 

Q.  Of  what  does  a  flat  fifth  consist  ? 

A.  Two  steps  and  two  half  steps. 

Q.  Of  what  does  a  perfect  fifth  consist? 

A.  Three  steps  and  one  half  step. 


EL  EM  EX  TARY   I)  EP.  1 R  TMEXT. 


Go 


Minor  Sixth.  A  sixth  consisting  of  three  steps  and 
two  half  steps  (Mi  to  Do)  is  called  a  Minor  Sixth. 

Major  Sixth.  A  sixth  consisting  of  four  steps  and 
one  half  step  (Do  to  La)  is  called  a  Major  Sixth. 

Flat  Seventh.  A  seventh  consisting  of  four  steps 
and  two  half  steps  I  Re  to  Do)  is  called  a  Flat  Sev- 
enth. 

Sharp  Seventh.  A  seventh  consisting  of  five  steps 
and  one  half  step  (Do  to  Si  I  is  called  a  Sharp  Sev- 
enth. 

Octaves  are  all  alike.  They  consist  of  five  steps 
and  two  half  steps. 

There  are  other  intervals,  but  as  they  are  not  gen- 
erally studied  unless  the  science  of  harmony  is  the 
subject  of  study,  when  special  books  are  needed, 
they  are  here  omitted,  simply  stating  that  nearly  all 
of  the  above  may  be  diminished  or  augmented. 


Q.  Of  what  does  a  minor  sixth  consist"? 

,-1.  Three  steps  and  two  half  steps. 

Q.  Of  what  does  a  major  sixth  consist  ? 

A.  Four  steps  and  one  half  step. 

Q.  Of  what  does  a  flat  seventh  consist? 

.1.  Four  steps  and  two  half  steps. 

Q.  Of  what  does  a  sharp  seventh  consist? 

A.  Five  steps  and  one  half  step. 

Q.  Of  what  do  octaves  consist  ? 

A.  Five  steps  and  two  half  steps. 

Q.  Are  octaves  all  alike? 

A.  There  is  no  difference. 

Q.  Are  there  any  other  kind  of  intervals  than  the 
above? 

A.  There  are  others,  but  they  belong  to  another 
study  and  are  here  omitted. 

Q.  Can  any  of  the  above  be  lessened  or  enlarged? 

A.  Ye^s ;  nearly  all  of  them. 


(See  Practical  Department.  Lesson  XIX.) 


Lesson  XX.— Melodies. 

INTERMEDIATE  TONES  AND  ACCIDENTALS.  TEACHER  AND  STUDENT. 

Intermediate   Tones.       Between   any  tones  of  the       Q.  What  may  be  formed  between  two  tones  where 
diatonic  scale,  where  the  interval  is  a  step,  a  new  the  interval  is  a  step  ?        A.  An  intermediate  tone, 
tone,  called   intermediate,    or   intervening,  may  be        Q.  How  can  intermediate  tones  be  formed  ? 
formed.     This  is  done  by  the  use  of  sharps  (#),  flats       A.  By  the  use  of  sharps,  flats  and  naturals. 
(?.)  and  naturals  iji.     Also,  in  rare  instances,  inter-       Q.  If  a  degree  be  already  sharp  by  the  signature, 
mediate  tones  may  be  produced  by  the  use  of  a  dou- 1  what  is  the  effect  of  a  double  sharp  upon  it  ? 
ble  sharp  (x),  and  again  by  a  double  flat  (!??),  when  :      A.  The  pitch  of  that  degree  is  a  half  step  higher. 


66 


MUSIC  AT  SIGHT. 


the  effect  would  be  to  raise  or  lower  the  pitch  a  half 
step  more  than  the  signature. 

Number  of  Intermediate  Tones  in  the  Diatonic 
Scale.  As  there  are  rive  intervals  of  a  step  each  in 
the  diatonic  scale,  and  if  between  each  of  these  it 
be  possible  to  produce  an  intermediate  tone,  we  may 
have  five  intermediate  tones  between  the  tones  of 
our  diatonic  scale. 

Accidentals.  These  sharps,  flats  and  naturals, 
when  thus  forming  intermediate  tones,  are  called  ac- 
cidentals. 

Accidentals  have  no  connection  with,  nor  do  they 
belong  to,  the  signature.  Neither  do  the  tones  pro- 
duced by  them  belong  to  the  tone  family  of  the  key 
in  which  they  occur;  they  are  simply  temporary  oc- 
cupants introduced  for  certain  effects. 

Effect  of  Accidentals.  The  effect  of  accidentals  con- 
tinues throughout  the  measure  in  which  they  occur, 
and  should  the  pitch  of  the  same  degree  (intermediate 
tone)  pass  to  the  following  measure  uninterrupted,  it 
will  affect  it  just  as  though  the  accidental  were 
placed  in  the  measure.  Thus  it  is  possible  for  the 
effect  of  an  accidental  to  continue  through  several 
measures. 

Note.  There  must  be  no  change  of  pitch  to  intervene 
between  these  pitches  on  the  same  degree,  nor  can  a  rest 
intervene  between  the  measures;  otherwise  the  accidental 
is  cancelled  by  the  following  bar. 


Q.  What  is  the  effect  of  a  double  flat  upon  a  de- 
gree already  flat  by  signature  '? 

A.  The  pitch  of  that  degree  would  be  a  half  step 
lower. 

Q.  Do  double  sharps  and  double  flats  then  simply 
affect  the  natural  pitches  of  a  degree,  and  pay  no  re- 
gard to  the  signature  ?      A.  Xo  signature  is  affected. 

Q.  Do  sharps  and  flats  ever  have  the  effect  of  rais- 
ing or  lowering  the  pitch  of  a  degree  already  affected 
by  a  signature?  .-1.  Xever. 

Q.  How  does  a  natural  produce  an  intermediate 
tone?       A.  By  removing  the  effect  of  the  signature. 

Q.  How  many  intermediate  tones  can  be  formed 
between  the  tones  of  the  diatonic  scale  ?        A.  Five. 

Q.  Why  five  ? 

A.  Because  there  are  five  intervals  of  a  step  each 
in  the  scale. 

Q.  What  are  these  sharps,  flats  and  naturals  called 
when  forming  intermediate  tones?      A.  Accidentals. 

Q.  Do  accidentals  belong  to  the  tone  family  of 
the  key  in  which  they  occur?  A.  They  do  not. 

Q.  Why  then  are  they  introduced  ? 

A.  To  produce  certain  effects. 

Q.  How  far  does  the  effect  of  accidentals  continue? 

A.  Generally  throughout  the  measure  in  which 
they  occur. 

Q.  Does  their  effect  ever  continue  beyond  the 
bar?  A.  Yes. 

Q.  When'? 

A.  When  the  pitch  of  the  degree  continues  unin- 
terrupted to  the  next  measure. 


ELEMENTARY  DEPARTMENT. 


s* 


i=s- 


Accidental  Sharp 


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2. 


q — I— T 


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Sli^ 


Effect  of  the  Accidental  Sharp  passing  to  next  Measure. 


53 


£=S=Jifl*=*=fcE*=i 


»— *~* 


SEi 


i. 


^=t 


^ 


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Accidental   Flat. 


(See  Practical  Department,  Lesson  XX.) 


Lesson  XXI.— Melodies. 


CHROMATIC  INTERVALS. 

Chromatic  Intervals.  Intervals  produced  by  the 
use  of  accidentals. 

It  would  duplicate  our  signature  too  frequently  to 
introduce  it  every  time  a  tone  of  its  family  is  wanted. 
We  leave  the  signature  unchanged  and  simply  use 
one  or  more  of  the  pitches  required.  This  produces 
chromatic  intervals. 

Note.  We  also  have  half  steps  in  the  diatonic  scale, 
hut  they  are  diatonic  intervals,  because  they  occur  in  the 
regular  tone  succession  of  the  diatonic  scale. 


TEACHER  AND  STUDENT. 

Q.  What  kind  of  intervals  are  produced  by  the 
use  of  accidentals  ? 

A.  Chromatic  intervals. 

Q.  Why  are  chromatic  intervals  used  ? 

A.  To  avoid  the  too  frequent  use  of  signatures. 

Q.  How  many  chromatic  intervals  may  be  pro- 
duced by  accidentals '? 

A.  Five. 

Q.   Why  are  they  not  called  diatonic  intervals? 

A.  They  do  not  belong  to  the  diatonic  scale. 


68 


MUSIC  AT  SIGHT. 


The  names  which  we  apply  to  these  tones,  when 
either  sharp  or  flat,  are  the  regular  scale  names 
of  the  diatonic  scale,  and  to  these  we  simply  add 
sharp  or  flat. 

Sharp  One.  When  the  first  tone  of  a  scale  is  sharp 
we  call  the  scale  name  sharp  one ;  the  syllable  is  Dee. 

Sharp  Two.  When  the  second  tone  is  sharp  the 
scale  name  is  sharp  two;  the  syllable  is  Ree. 

Sharp  Four.  The  fourth  tone  sharp  is  sharp  four; 
the  syllable  is  Fee. 

Sharp  Five.  The  fifth  tone  sharp  is  called  sharp 
five  ;  the  syllable  is  See. 

Sharp  Six.  The  sixth  tone  sharp  is  called  sharp 
six;  the  syllable.  Lee. 

Note.  We  cannot  make  the  third  tone  sharp,  neither 
tone  seven,  as  there  is  lint  an  interval  of  a  half  step  be- 
tween these  tones  and  the  next  higher  one. 

Flat  Seven.  When  the  seventh  tone  of  a  scale  is 
flat  it  is  called  flat  seven ;  the  syllable  is  Say. 

Flat  Six.  When  the  sixth  tone  is  flat  the  scale 
name  is  flat  six  ;   the  syllable  is  Lay. 

Flat  Five.  The  fifth  tone  flat  is  called  flat  five; 
the  syllable  is  Say. 

Flat  Three.  The  third  tone  flat  iscalled  flatthree; 
the  syllable  is  May. 

Flat  Two.  When  the  second  tone  is  flat  the  scale 
name  is  flat  two;   the  syllable  is  Ray. 

Note.     We  cannot  make  tone  four,  nor  tone  one,  flat. 


Q.  What  is  the  scale  name  of  tone  one,  sharp  ? 
A.  Sharp  one. 
Q.  What  syllable  ? 
A.  Dee. 

Q.  Tone  two,  sharp  ? 
A.  Sharp  two. 
Q.  Syllable? 
A.  Ree. 

Q.  Tone  four,  sharp  ? 
A.  Sharp  four. 

Q.  Syllable?  A.  Fee. 

Q.  Tone  five,  sharp  ?  A.  Sharp  five. 

Q.  Syllable?  A.  See. 

Q.  Tone  six.  sharp  ?  A.  Sharp  six. 

Q.  Syllable?  A.  Lee. 

Q.  Can  tones  three  and  seven  be  sharp  ?     A,  No. 
(?.  Why  not  ? 

A.  Because  there,  is  but  a  half  step  between  them 
tnd  the  next  higher  tones. 
Q.  What  is  the  scale  name  of  tone  seven,  flat? 
A.  Flat  seven. 

Q.  What  is  the  syllable?  A.  Say. 

Q.  Tone  six,  flat?  A.  Flat  six. 

Q.  Syllable?  A.  Lay. 

Q.  Tone  live,  flat?  A.  Flat  five. 

Q.  Syllable?  A.  Say. 

Q.  Tone  three,  flat?  A.  Flat  three.     " 

Q.  Syllable?  A.  May. 

Q.  Tone  two.  flat?  A.  Flat  two. 

Q.  Syllable?  A.  Ray. 

Q.  Can  tones  one  and  four  be  flat  ?         A.  No. 


EL  EMENTA  R  Y  DEPA  R  Til  EXT. 


69 


Sharp  Four  and  Sharp  Five. 

(The  new  intervals  introduced  are  Chromatic  Interval 


§ 


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Mi  Sol  Fee  Mi    Fee       Mi    La  La  See  See  La  Si  See  La   Sol    Mi  Sol      Si   Si  Do  Re    Si   Do  Do 
Exercise  in  Intermediate  Tones.     Accidental  Sharps.     Chromatic  Intervals. 


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Exercise  in  Intermediate  Tones.     Accidental  Flats.     Chromatic  Intervals. 


7^        *.~ffi=^~ 

1 1 1 = 1 y r- v 1 — 

2.              Fine.\ 

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(,See  Practical  Department,  Lesson  XXL) 


70 


MUSIC  AT  SIGHT. 


Lesson  XXII.    Melodies. 


CHROMATIC  SCALE. 

Chromatic  Scale.  If  we  add  the  intermediate 
tones  in  their  regular  order  to  the  tones  of  the  dia- 
tonic scale,  we  form  the  chromatic  scale,  which  con- 
sists of  thirteen  tones,  and  we  find  twelve  intervals 
of  a  half  step  each. 

Note.  Chromatic  means  proceeding  by  half  steps  (semi- 
tones).  At  one  time  in  the  early  history  of  music  it  used 
to  be  the  custom,  whenever  an  intermediate  tone  was  re- 
quired, the  character  denoting  the  chromatic  interval  was 
colored,  color  being  derived  from  chrome,  hence  the  term 
chromatic. 

Chromatic  Scale  Names.  Ascending: — One, sharp 
one,  two,  sharp  two,  three,  four,  sharp  four,  five, 
sharp  five,  six,  sharp  six,  seven,  one. 

Descending: — One,  seven,  flat  seven,  six,  flat 
six,  five,  flat  five,  four,  three,  flat  three,  two,  flat  two, 
one. 

Chromatic  Scale  of  C. 

Pitch  Names.  Ascending :— C,  CJ,  D,  DJf,  E,  F, 
F#,  G,  Gjf,  A,  AJJ,  B,  C. 

Descending :— C,  B.  Bfc>,  A,  Ab,  G,  Gb,  F.  E,  Eb, 
D,  Db.  <C. 

Syllables.  Ascending: — Do.  Dee,  Re,  Ree,  Mi, 
Fa,  Fee,  Sol,  See,  La,  Lee,  Si,  Do. 

Descending : — Do.  Si,  Say,  La,  Lay,  Sol,  Say,  Fa, 
Mi,  May,  Re^  Ray,  Do. 


TEACHER  AND  STUDENT. 

Q.  If  we  add  the  intermediate  tones  in  regular 
progression  to  the  tones  of  the  diatonic  scale,  what 
kind  of  a  new  scale  is  formed  ? 

A .  The  chromatic  scale. 

Q.  Of  how  many  tones  does  this  scale  consist  ? 

A.  Thirteen  tones. 

Q.  How  many  intervals  ? 

A.  Twelve. 

Q.  How  many  of  these  twelve  intervals  are  half 
steps  ? 

A.  All  of  them. 

Q.  What  are  the  chromatic  scale  names  ascend- 
ing ? 

A.  One,  sharp  one,  two,  sharp  two,  three,  four, 
sharp  four,  five,  sharp  five,  six,  sharp  six,  seven,  one. 

Q.  What  are  the  same  descending  ? 

A.  One,  seven,  flat  seven,  six,  flat  six,  five,  flat  five, 
four,  three,  flat  three,  two,  fiat  two,  one. 

Q.  What  are  the  pitch  names  ascending  ? 

A.  C,  C£,  D,  DJt,  E,  F,  Fjf,  G,  Gjf,  A,  AJf°B,  C. 

Q.  Descending? 

A.  C,  B,  Bb,  A,  Ab,  G,  Gb,  F,  E,  Eb,  D,  Dn,  C. 

Q.  What  are  the  syllables  ascending? 

A.  Do,  Dee,  Re,  Ree,  Mi,  Fa,  Fee,  Sol,  Si,  La, 
Lee,  Si,  Do. 

Q.  What  descending? 

A.  Do,  Si,  Say,  La,  Lay,  Sol,  Say,  Fa,  Mi,  May, 
Re,  Ray,  Do. 


EL EME.X TARY  DEPAR TMENT. 


71 


Ascending  by  Sharps. 


Chromatic  Scale  of  C. 


m 


E 


"8^ 


-$»- 


Pitch  names.     C 
Scale  names.  On 


C#        D        D|         E  F        F* 

Two,  Three,  Four, 


zfez 


-fiS- 


G         Gfl         A        Aft          B  C 

Five,                  Six,                Seven,  One. 
Sharp  One,        Sharp  Two,            Sharp  Four,     Sharp  Five,        Sharp  Six, 

Syllables.         Do,       Dee,       Re,     Ree,        Mi,       Fa,      Fee,       Sol,      See,        La,       Lee,        Si,  Do. 


Descending  by  Flats. 


I 


l¥. 


rsr 


-s>- 


h. 


-/s~ 


:fc 


Pitch  names.     O          B        Bb           A        k\f          G        Gb           F  E        Ep          D         Db         C 

Scale  names.  One,  Seven,                Six,                  Five,                Four,  Three,               Two,                One. 

Flat  Seven,         Flat  Six,         Flat  Five,  Flat  Three,         Flat  Two, 

Syllables.         Do,        Si,      Say,        La,      Lay,      Sol,     Say,        Fa,  Mi,     May,       Be,      Ray,      Do. 


Note.  The  syllables  applied  to  these  intermediate 
tones  helping  to  form  the  chromatic  scale  are  sometimes 
written  thus:  By  sharps,  Di.  Ei,  Fi,  Si,  Li,  etc.  By  flats, 
Se,  Le,  Se,  Me,  Ee,  etc.  The  pronunciation  is,  however, 
the  same  as  above. 

Order  of  Scale  Names.  It  will  be  noticed  that 
the  scale  names  of  the  diatonic  scale  are  retained ; 
that  is,  tone  one,  tone  two,  etc.,  of  the  diatonic  scale 
remain  the  same  name  as  before ;  the  intermediate 
tones  are  simply  added  in  their  regular  order  when 
the  interval  is  a  step  in  the  diatonic  scale.  Thus  we 
obtain  the  twelve  intervals  of  a  half  step  each. 


Q.  What  are  the  pitch  names  of  the  chromatic 
scale  of  C  ascending '? 

.4.  C,  CJ,  D,  Dft  E,  F,  FJ,  G,  Gfl,  A,  Aft  B,  C. 

Q.  What  are  the  pitch  names,  descending  ? 

A.  C,  B,  Bb,  A.  Ab,  G,  Oy,  F,  E,  Ei?,  D,  Db,  C. 

Q.  Are  the  scale  names  of  the  diatonic  scale  al- 
ways retained  in  the  chromatic  scale? 

A.  They  are. 

Q.  Are  the  intermediate  tones  in  their  regular 
order  wherever  there  is  an  interval  of  a  step  in  the 
diatonic  scale '? 

A.  That  is  the  way  we  obtain  the  chromatic  scale. 


72 


music  AT  SIGHT. 


It  would  not  be  correct  to  name  the  tones  thus:  Q.  If  there  are  thirteen  tones  forming  the  ehro- 
one,  two,  three,  four,  five,  six,  seven,  eight,  nine,  ten,  ;  matic  scale,  do  we  not  name  the  tones  one,  two, 
eleven,  twelve,  thirteen.  Although  the  tones  of  the  three,  four,  five,  six,  seven,  eight,  nine,  ten,  eleven, 
chromatic  scale  number  thirteen,  they  are  not  the  twelve,  thirteen?  A.  These  are  not  the  scale  names, 
scale  names.  Q.  Why  are  these  not  the  scale  names  of  the  tones? 

A.  The  chromatic  scale  is  formed  out  of  the  tones 

Scale  Limits.  There  is  only  one  octave  of  pitches  ,  of  the  diatonic  scale,  and  hence  we  do  not  change 
within  any  scale,   no  matter  how   many  sharps  or '  their  names. 

flats  may  be  introduced.  Whenever  the  vibration  Q.  Is  every  scale  confined  to  the  limits  of  an  octave? 
of  any  one  tone  is  exactly  doubled  by  another  tone  A.  No  scale  can  extend  beyond  the  limit  of  an  oc- 
it  is  the  octave  to  the  same,  and  every  kind  of  a  tave  from  its  key-note. 

scale  is  confined  within  the  limits  of  the  octave  from  Q.  Must  all  its  tones  be  produced  within  this  limit? 
its  first  tone,  or  from  its  key-note.  A.  Yes  ;  all  are  within  the  octave. 

(See  Practical  Department,  Lesson  XXII.) 


Lesson  XXII 

MAJOR  AND  MINOR. 
Emotions.     The  two  great  emotions  of  the  heart 
are  joy — gladness,  cheerfulness — and  grief — sadness, 
plaintiveness. 

Design.  Music  is  intended  to  add  its  charm  so  as 
to  more  particularly  express  these  emotions,  hence 
we  have  various  ways  or  modes  of  procedure  to  apply 
in  order  to  bring  forth  these  desired  expressions. 

Mode.  This  is  accomplished  by  a  certain  in- 
creasing, equalizing  or  diminishing  the  vibration  of 
tones  which  form  the  different  chords  used  in  pro- 
ducing the  harmony.  To  this  harmony  we  must  ap- 
ply the  various  qualities  of  tone  needed  to  give  forth 
the  desired  expression. 


I.— Melodies. 

TEACHER  AND  STUDENT. 

Q.  What  are  the  two  great  emotions  of  the 
heart? 

A.  Joy — gladness,  cheerfulness — and  grief — sad- 
ness, plaintiveness. 

Q.  What  seems  to  be  one  of  the  main  designs  in 
music  ? 

A.  To  add  its  charms  to  bring  forth  or  aid  to  ex- 
press emotions. 

Q.  How  can  this  be  accomplished  ? 

A.  By  different  modes  of  arranging  harmony. 

Q.  What  must  be  applied  to  this  arrangement  of 
harmony  ? 

A.  The  various  qualities  of  tone  needed'  to  give 
the  desired  expression. 


ELEMENTA  R  Y  DEPARTMEyT. 


!■■'> 


Major  Mode.  The  mode  suited  particularly  to  the 
more  joyous  and  cheerful  expression  is  the  major 
(larger,  extended). 

Minor  Mode.  The  mode  suited  more  particularly 
to  the  plaintive  expression  is  the  minor  (smaller, 
diminished). 

Minor  Scale.  Another  scale,  consisting;  also  of 
eight  tones,  but  differing  greatly  from  the  diatonic 
scale  (which  we  will  now  call  the  major  scale  |  in  its 
interval  progression,  and  presenting  a  quite  different 
tone  for  its  key-note,  we  will  call  the  minor  scale. 

Forms  of  the  Minor  Scale.  There  are  three  differ- 
ent forms  of  the  minor  scale,  each  presenting  its 
own  peculiar  order  of  interval  progression. 

Natural  Minor.  Said  to  be  so  because  it  retains 
all  the  tones  of  the  diatonic  scale,  but  takes  its  sixth 
tone  for  the  key-note  ascending  and  descending,  thus: 

La,     Si,  Do,     Re,     Mi,  Fa,     Sol,     La. 
12      3         4        5      6        7         8 

It  will  be  noticed  that  here  the  half  step  occurs 
between  tones  two  and  three,  and  between  tones  five 
and  six. 

Diatonic  Major  and  Minor  Scale.  In  order  still 
more  to  distinguish  the  two  scales  from  each  other,  we 
will  hereafter  call  this  the  Diatonic  Minor  Scale,  and 
the  former  one  the  Diatonic  Major  Scale.  Notice 
the  great  difference  between  the  two  scales  in  inter- 
val progression. 


Q.  Which  mode  is  more  particularly  adapted  to 
express  joy  ? 

A.  The  major  mode. 

Q.  Which  is  the  more  plaintive  and  sympathetic  ? 

A.  The  minor. 

Q.  What  other  scale  consists  of  eight  tones  besides 
the  diatonic '?  A.  The  minor  scale. 

Q.  What  is  the  difference  between  these  new  scales, 
if  both  consist  of  eight  tones? 

A.  They  differ  in  their  interval  progression. 

Q.  Do  they  differ  in  anything  else  ? 

A.  In  their  key-note. 

Q.  What  will  we  now  call  the  diatonic  scale? 

A.  The  major  scale. 

Q.  How  many  forms  have  we  of  the  minor  scale  ? 

A.  Three  different  forms. 

Q.  What  is  the  one  form  called? 

A.  The  natural. 

Q.   Why  the  natural  form  ? 

A.  Because  it  retains  all  the  tones  of  the  diatonic 
scale. 

Q.  What  is  its  key-note?  A.  La. 

Q.  Where  are  the  half  steps  to  be  found  ? 

A.  Between  tones  two  and  three  and  five  and  six. 

Q.  What  is  the  interval  progression  ? 

A.  Step,  half  step,  step,  step,  half  step,  step,  step. 

Q.  What  are  the  syllables  ? 

A.  La,  Si,  Do,  Re," Mi,  Fa,  Sol,  La. 

Q.  What  other  names  are  applied  to  the  major 
and  minor  scales  ? 

A.  Diatonic  major  and  minor  scales. 


74 


MUSIC  AT  SIGHT. 


Melodic  Minor.  This  form  of  the  minor  scale  in- 
troduces both  sharp  six  and  sharp  seven  in  its  as- 
cending, while  it  descends  in  the  natural  form. 

Ascending. — La,  Si,  Do,  Re,  Mi,  Fee,  See,  La. 
1      2     3       4       5      #6      J7     1 

Descending. — La.  Sol,  Fa,  Mi,  Re,  Do,  Si,  La. 
17       6     5       4       3     2       1 

The  melodic  is  sometimes  called  the  irregular 
form,  because  with  its  ascending  minor  it  descends 
natural. 

Position  of  the  Half  Steps.  Observe  that  in  its 
ascending  this  scale  has  the  half  steps  between  tones 
two  and  three  and  sharp  seven  and  one,  while  in  its 
descending  the  same  occur  between  tones  two  and 
three  and  five  and  six. 

Harmonic  Minor.  This  form  differs  from  both  of 
the  preceding  minor  scales  by  using  the  sharp  seven 
in  its  ascending  as  well  as  in  its  descending,  omit- 
ting the  tone  (syllable  Sol)  altogether  from  its  tone 
progression,  causing  a 

New  Interval  of  a  step  and  a  half  step  between  its 
tones  six  and  sharp  seven.  This  form  of  the  minor 
scale  seems  to  be  the  one  most  frequently  used.  It 
is  alike  in  both  its  ascending  and  descending. 

Minor  Seconds.  The  intervals  of  a  second  be- 
tween tones  two  and  three,  five  and  six.  and  between 
sharp  seven  and  one.  are  minor  seconds. 


Q.  What  other  form  of  the  minor  scale  have  we? 

A.  The  melodic  form. 

Q.  What  does  the  melodic  form  introduce  in  its 
ascending  ? 

A.  Both  the  sharp  six  and  sharp  seven.    . 

Q.  How  does  it  descend?      A.  In  its  natural  form. 

Q.  What  is  this  form  sometimes  called  ? 

A.  The  irregular  form. 

Q.  Why  the  irregular  ? 

A.  Because  with  its  ascending  minor  it  descends 
natural. 

Q.  Where  do  we  find  the  half  steps  in  ascending? 

A.  Between  two  and  three  and  seven  and  one. 

Q.  How  in  descending? 

A.  The  same  as  by  the  natural  form. 

Q.  What  are  the  syllables  ascending? 

A.  La,  Si,  Do,  Re,  Mi,  Fee,  See,  La. 

Q.   Descending? 

A.  La,  Sol,  Fa,  Mi,  Re,  Do,  Si,  La. 

Q.  Is  La  always  the  key-note  in  the  minor  scale? 

A.  La  is  the  key-note. 

Q.  Which  is  the  third  form  of  the  minor  scale  ? 

A.  The  harmonic. 

Q.  In  what  does  it  differ  from  both  of  the  other 
forms  ? 

A.  It  introduces  an  interval  of  a  second,  a  step 
and  a  half  step. 

Q.  Where  is  this  found  ? 

A.  Between  tones  six  and  sharp  seven. 

Q.  How  many  half  steps  has  this  scale? 

A.  Throe  half  steps. 


ELEMENTAL  Y  DEPARTMENT. 


75 


La, 
1 


Si,    Do, 

2'~S3 

Step.     Half     Step 
Step. 


Re, 
4 


5      6  57       1 

Step.     Half    Step  and    Half 
Step.  Half  Step.    Step. 


Minor  Interval  Progression.  Observe  that  the 
form  of  the  minor  scale  introduces  three  intervals  of 
a  half  step  each,  one  interval  of  a  step  and  a  half 
step,  and  only  three  intervals  of  a  step  each. 

Note.  Each  one  of  these  different  forms  of  the  minor 
scale  has  heen  designed  for  combination  to  bring  out  par- 
ticular emotions  and  certain  desired  expressions. 


Mi,  Fa,  See,  La.  Q.  Where  are  they  found  ? 

A.  Between  tones  two  and  three,  five  and  six  and 
seven  and  one. 

Q.  How  many  steps  have  we  in  the  harmonic 
minor '? 

A.  Three  steps. 

Q.  What  is  the  interval  progression '? 

A.  Step,  half  step,  step,  step,  half  step,  step  and  a 
half  step,  and  a  half  step. 

Q.  Will  these  different  forms  aid  in  bringing  out 
certain  desired  expressions  and  emotions  ? 

A.  For  this  they  were  designed. 

(See  Practical  Department,  Lesson  XXIII.) 


Lesson  XXIV.— Melodies. 


Natural  Form. 


Forms  of  the  Minor  Scale. 


La,      Si,  Do,     Re,      Mi,  Fa,     Sol,     La. 
1  2      3         4         5      6        7         1 


La.     Sol,     Fa,  Mi,     Re,     Do,  Si,       La. 
17  6      5        4         3      2  1 


Melodic  Form.    Ascending. 


m 


--> 


--W- 


Descending. 
— & 71 — 


La, 

Si,  Do, 

Re. 

Mi. 

Fee, 

See,  La 

1 

2      3 

4 

5 

S6 

V     i 

La,     Sol,     Fa,  Mi,     Re,     Do,  Si,       La. 
17  6      5        4         3      2  1 


76 


MUSIC  AT  SIGHT. 


Harmonic  Form. 


-TS— & 


~4&r- 


1; 


-%*- 


La.      Si.  Do.     Re,     Mi,  Fa,         See.  La. 

Relative  Major  and  Minor.  Every  major  key  has  its 
relative  minor,  and  every  minor  key  its  relative  ma- 
jor. The  relative  minor  key  is  always  three  degrees 
lower  than  its  major;  or  if  a  major  key-note  is  on 
any  line,  the  minor  key-note  is  placed  a  line  lower, 
spaces  the  same.  Again,  the  key-note  for  the  major 
is  always  a  line  or  a  space  above  the  one  on  which 
the  minor  belongs. 

Minor  Key-note.  The  key-note  of  the  minor  scale, 
in  either  of  the  three  forms,  is  always  La.  It  is 
tone  sis  of  the  major  scale. 

Major  and  Minor  Thirds.  One  of  the  distinguish- 
ing features  between  the  two  modes,  major  and 
minor,  is  the  third,  which  in  the  major  scale  is  a 
major  third,  and  in  the  minor  scale  a  minor  third  ; 
that  is,  the  first  third  in  the  minor  scale — La  to  Do 
— is  a  step  and  a  half  step,  a  minor  third.  In  the 
major  scale — Do  to  Mi — it  is  two  steps,  a  major 
third. 

Major  and  Minor  Chords.  If  the  third  of  any 
major  chord  be  lowered  a  half  step,  the  same  be- 
comes a  minor  chord.  Should  the  third  of  a  minor 
be  raised  a  half  step,  it  becomes  a  major. 


La,     Si,  Do,      Re,     Mi,  Fa,        See.  La. 

Q.  How  much  lower  is  the  minor  key  than  its  rela- 
tive major  ? 

A.  Three  degrees  lower. 

V-  How  much  higher  is  the  major  than  its  rela- 
tive minor '? 

A.  Three  degrees  higher. 

Q.  What  is  the  relative  minor  to  the  key  of  C 
major '? 

.4.   A  minor. 

Q.  To  G  major  ? 

A.  E  minor. 

Q.  To  D  major  ? 

A.   B  minor. 

V-  What  is  the  relative  minor  to  the  key  of  Aj^ 
major  ?  A.  F  minor. 

Q.  What  is  the  relative  major  to  the  key  of  B 
minor?  A.  D  major. 

Q.  Is  the  key-note  always  La  in  either  of  the  three 
forms?  A.  The  key-note  is  La. 

Q.  What  kind  of  a  third  distinguishes  the  minor 
scale?  A.  A  minor  third. 

Q.  What  kind  of  a  third  distinguishes  the  major 
scale?  A.  A  major  third. 

Q.  How  can  we  form  a  minor  chord  out  of  a 
major?  A.  By  lowering  its  third  a  half  step. 


ELEMENTA R Y  DEPARTMENT. 


77 


Major  Key-note. 


Example  of  Relative  Major  and  Minor  Keys. 

at 


Minor  Key-note. 


[See  Practical  Department,  Lesson  XXIV.) 


Lesson  XXV.— Melodies. 

Keys  and  Signatures  of  the  Minor  Scales. 


s?s= 


.--»*-*■. 


ginssi  i 


A 


E 


FS 


cs 


GS 


DS 


£^=z-=RgP   i  Egg 


» 


m& 


i= 


mm 


Guide  for  Sharps. — The  minor  key-note  is  always  next  below  the  last  sharp. 

TEACHER  AND  STUDENT. 


Q.  What  is  the  signature  to  the  key  of  A  minor? 

A.  The  signature  is  natural. 

Q.  What  is  the  signature  to  the  key  of  E  minor  ? 

A.  One  sharp. 

Q.  Of  B  minor?  A.  Two  sharps. 

Q.  Of  Fjf  minor?  A.  Three  sharps. 

Q.  Of  CJf  minor?  A.  Four  sharps. 

Q.  Of  Gft  minor?  A.  Five  sharps. 


Q.  What  is  the  signature  to  the  key  of  DJ  minor? 

A.  Six  sharps. 

Q.  What  is  the  key-guide  for  the  sharps  ? 

A.  The  minor  key-note  is  always  next  below  the 
last  sharp. 

Q.  Why  do  we  say  Fj£,  Cfi,  G£  and  DJJ  minor  ? 

A.  Because  these  pitches  are  affected  by  the  sig- 
natures, and  are  sharp. 


78 


MUSIC  AT  SIGHT. 


Guide  for  Flats. — The  minor  key-note  is  on  the  space  or  line  above  the  one  where  the  last  flat  is  placed. 


Q.  What  is  the  signature  to  the  key  of  D  minor? 

A.  The  signature  is  one  flat. 

Q.  Of  G  minor? 

A.  Two  flats. 

Q.  Of  C  minor? 

A.  Three  flats. 

Q.  Of  F  minor? 

A.  Four  flats. 

Q.  Of  B[>  minor?  A.  Five  flats. 

Q.  Of  Er>  minor?  A.  Six  flats. 


Q.  What  is  the  key-guide  for  the  flats  ? 

A.  The   minor  key-note  is  on  the  space  or  line 
above  the  one  on  which  the  last  flat  is  placed. 
■    Q.  May  each  of  these  minor  scales  be  in  the  natu- 
ral, melodic  and  harmonic  form?        A.  In  all  three. 

Q.  Which  are  the  keys  of  the  minor  ^cales  by 
sharps  ? 

A.  E,  B,  F#,  C'SrGJand  D#. 

Q.  By  flats  ? 

A.  D,  G,  C,  F,  Bb  and  Efr. 


(See  Practical  Department,  Lesson  XXV.) 


Lesson  XXVI 

FORM  OF  TONES. 

If  it  is  true,  as  stated,  that  the  heart  must  be  in  ' 
sympathy  with  the  subject  and  the  expression  and 
effect  desired  to  be  produced,  there  must  be,  espe- 
cially by  a  company  of  performers,  some  certain 
signs,  guides  or  rules  given  by  which  all  can  be 
governed  in  regard  to  expression. 


.  —  Dynamics. 

TEACHER  AND  STUDENT. 

Q.  What  is  the  third  department  called  ? 

A.  Dynamics. 

Q.  What  is  meant  by  it  ? 

A.  Musical  expression;  /.  e.,  all  that  which  treats 
of  force  or  power,  form,  quality,  etc.,  giving  life  and 
soul  to  music. 


ELEMENTA R Y  DEPARTMENT. 


79 


Mezzo.  A  tone  formed  with  medium  power;  the 
abbreviation  is  m.     Pronounced  met-zo. 

Piano.  A  tone  softer  than  mezzo;  rather  a  soft 
tone;  abbreviation  p.     Pronounced  pee-ah-no. 

Pianissimo.  A  very  soft  tone;  abbreviation  pp. 
Pronounced  pee-ah-n  is-ri-mo. 

Forte.  Atone  louder  than  mezzo;  rather  a  loud 
tone;  abbreviation/'.     Pronounced for-ie. 

Fortissimo.  A  very  loud  tone;  abbreviation  ff. 
Pronounced  for-fis-si-mo. 

Mezzo  Piano.     Medium  soft,  rnp. 

Mezzo  Forte.     Medium  loud,  mf. 

Organ  Form.  Commenced,  continued  and  ended 
with  the  same  degree  of  power.  It  is  also  called  Or- 
gan Tone,        . 

Crescendo,  Cres.  Commence  soft,  increasing  to 
loud.     Pronounced  ere-shen-do  ;  sign,  -==. 

Diminuendo.  Dim.  Commence  loud,  diminishing 
to  soft.     Pronounced  dim-in-oo-en-do  ;  sign,  :=-. 

Swell.     LTnion  of  cres.  and  dim.  -=^=— . 

Pressure  Form.     Sudden  cres.  ;  sign,  -==,  or  o. 

Sforzando.  Sudden  dim. ;  explosive  sign,  >,  or 
sf.  sz. 

Note.  Observe  that,  under  the  head  of  Dynamics,  this 
treatise  includes  quality  of  tone  and  character,  i.  e.,  tim- 
bre, metal,  etc.,  as  well  as  force  or  power. 

(See  Practical  Depart 


<?. 

What  is  a  tone  called  that  is 

formed  with  me- 

dium 

power  ? 

A.  Mezzo. 

<?• 

What  is  the  abbreviation  ? 

A.  m. 

<?■ 

A  soft  tone '? 

A.  Piano. 

Q. 

Abbreviation  ? 

A.  p. 

Q. 

A  very  soft  tone  ? 

A.  Pianissimo. 

0. 

Abbreviation  ? 

A.  pp. 

Q- 

A  loud  tone? 

A.  Forte. 

Q- 

Abbreviation  ? 

A.f. 

Q- 

A  very  loud  tone  ? 

A.  Fortissimo. 

<?• 

Abbreviation  ? 

A.ff. 

Q. 

A  medium  soft  tone  '? 

A. 

Mezzo  piano. 

Q- 

Abbreviation  ? 

A.  mp. 

Q- 

Mezzo  forte  means  what '? 

A. 

Medium  loud. 

Q- 

What  is  the  abbreviation  ? 

A.  mf. 

Q. 

What  is  an  Organ  Tone  ? 

A. 

A  tone  commenced,  continuec 

and  ended  with 

the  s 

ame  power. 

<?• 

What  is  Crescendo  ? 

A. 

Commencing  soft  and  increasing  to  loud. 

Q- 

What  is  Diminuendo  ? 

A. 

Commencing  loud  and  dimini 

shing  to  soft. 

Q. 

What  is  a  Swell '? 

A. 

Union  of  cres.  and  dim. 

Q. 

What  is  a  Pressure  Tone  ? 

• 

A. 

Sudden  crescendo. 

Q- 

What  is  Sforzando '? 

A. 

Sudden  diminuendo. 

ment,  Lesson  XXVI.) 


80 


MUSIC  AT  SIGHT. 


Lesson  XXVI 

STYLE  AND  MOVEMENT. 

Legato.  (Le-gah-to.)  Closely  connected  ;  smooth, 
gliding  style.     The  sign  is  often  used  for  a  tie. 

Staccato.  (Stac-kali-io.)  Short,  distinct,  pointed. 
Sign,   i    t    i    i. 

Semi-Staccato.  Medium  between  a  staccato  and 
legato.     Sign, 

Portamento.  Graceful,  instantaneous,  gliding  into 
or  anticipating  a  coming  tone;  blending  of  one  tone 
with  another. 

Martellato.  in  distinct  marking  tones  ;  energetic, 
joyful  style,  nearly  allied  to  sforzando,  and  often  in- 
dicated by  the  same  character.     Sign,  >. 

Movement  is  the.  style  or  manner  of  rendering  time 
in  a  composition.     Those  in  common  use.  are: 

Moderato.     Moderate. 

Allegro.     Fast. 

Andante.     Slow. 

Adagio.     Very  slow. 

Allegretto.     Medium  fast. 

Andantino.     Medium  slow. 

Con  Spirito.     Spirited,  or  with  spirit. 

Presto.     Very  quick. 

Vivace.     Brisk,  quickly,  lively. 

Ritardo.     Slower,  or  ritard  by  degrees. 

A  Tempo.     Original  or  previous  time. 


I.— Dynamics. 

TEACHER   AND  STUDENT. 

Q.  What  is  meant  by  Legato? 

A.  Smooth,  connected,  gliding  style. 

Q.  How  shall  this  sign  be  used  as  a  tie  ? 

A.  It  will  connect  two  notes  as  though  one  tone. 

Q.  What   is  the  opposite  of  Legato;  that  is,  in  a 
short,  distinct,  pointed  style?  A.  Staccato. 

Q.  What  is  the  medium  between  a  legato  and  stac- 
cato? A.  Semi-staccato. 

Q.  What  is  said  of  Portamento? 

A.  A  graceful  blending  of  one  tone  into  another. 

Q.  What  is  Martellato  ? 

A.  A  distinct,  energetic,  marking  style. 

Q.  What  is  indicated  by  movement? 

A.  The  style   or  manner  of  singing  or  playing  a 
piece  of  music. 

Q.  What  does  Moderato  mean  ? 
Allegro  ? 


Q. 

Q.  Andante? 

Q.  Adagio? 

Q.  Allegretto? 

Q.  Andantino  ? 

Q.  Con  Spirito  ? 

Q.  Presto? 

Q.  Vivace. 

Q.  Pvitardo? 

Q.  A  Tempo? 

X  Original  or  previou 


A.  Moderate. 

Fast, 
Slow. 

Very  slow. 
Medium  fast. 
Medium  slow. 
With  spirit. 
Very  quick. 
Lively,  brisk. 


A.  Slower,  ritard  by  degrees. 


time. 


ELEMENTA R  Y  DEPARTMENT. 


81 


Animate     Animated,  with  animation. 
Grave.     A  slow  and  solemn  movement. 
Poco.     By  degrees,  gradually. 
Recitative.     In  recitative  style. 
Ritenuto.     Detained,  held  back. 
Tenuto.     Held  on,  sustained. 


Q.  Grave  ?  A.  A  slow  and  solemn  movement. 

Q.  Poco?  A.  By  degrees,  gradually. 

Q.  Recitative?  A.  In  recitative  style. 

Q.  What  is  meant  by  Ritenuto? 

A.  Detained,  held  back. 

Q.  What  does  Tenuto  signify  ? 

A.  To  hold  on,  sustain. 


{See  Practical  Department.  Lesson  XXVII.) 


Lesson  XXVIII 


EMBELLISHMENTS. 

Grace  Note.  A  small  note  preceding  any  princi- 
pal note  is  called  a  Grace  note.  Grace  notes  are  not 
counted  in  the  rhythm.  They  have  no  time  except 
what  they  receive  from  the  succeeding  principal  note. 
Grace  notes  are  of  two  kinds. 

Grace  Note  Dividing.  The  grace  note  takes  one- 
half  the  value  of  the  succeeding  principal  note, 
and  should  the  latter  be  dotted  it  takes  two-thirds 
of  its  value ;  that  is,  if  a  half  note  be  dotted,  the 
grace  note  takes  two-thirds  of  its  value,  or  a  half 
note. 


Dynamics. 

TEACHER  AND  STUDENT. 

Q.  What  is  the  name  of  a  small  note  preceding 
any  principal  note  ?  A.  Grace  note. 

Q.  Are  these  grace  notes  counted  in  the  rhythm  ? 

A.  Their  time  is  not  counted. 

Q.  How  is  their  time  provided  for  ? 

A.  It  is  taken  from  the  succeeding  principal  note. 

Q.  How  much  time  does  a  grace  note  dividing 
receive  ? 

A.  One-half  the  value  of  the  principal  note. 

Q.  What  if  the  principal  note  be  dotted  ? 

A.  Then  the  grace  note  takes  two-thirds  its  value. 


M 


£=± 


4-4- 


3*3= 


J 


"Written. 


-J—I- 


tfcf 


p 


3E 


-4-4- 


Performed. 

#— «4-l 


4-4- 


tt=t 


m 


82 


MUSIC  AT  SIGHT. 


Grace  Note  Embellishing.  Said  to  be  so  because 
the  time  given  to  it  is  so  very  short,  just  long  enough 
to  be  distinguished,  or  heard,  merely  anticipating 
the  coming  principal  tone.  This  grace  note  is  par- 
ticularly distinguished  by  a  little  stroke  through  the 
hook  of  the  note.  Its  proper  performance  produces 
a  very  pleasing  effect. 


Q.  What  is  the  time  given  to  the  grace  note  em- 
bellishing? A.  Very  short,  just  to  be  heard. 

Q.  By  what  is  this  grace  note  particularly  to  be 
distinguished  ? 

A.  By  a  little  stroke  through  the  hook  of  the  note. 

Q.  What  is  this  note  generally  used  for  ? 

A.  Anticipating  the  coming  principal  note. 


"Written. 


~2 

*x-/J    /J    J]     l^i Al    JJ    J]    li 

rd P — k — N — B-i — ' — ti — ' ? K-l —  t 

m-     - — m-^- —      -^-— 

Performed. 

*    d—^J — S-rJ1 *— — * — £— 

2 

h     N      ».     '"                               N      N       N  «.         1 

rd P — P* — fc — \ns ri — p — p N-*t 1 — ■ 

-*— *~J —    S  ,*— ^~H-*~~» — *  J-  «* ~i 

|V4                           _^_*_? ^L 

»—* — ^-j  .    S-t|-     -*         »             \ 

Double  Grace  Notes.  These  consist  of  any  two' 
small  notes  preceding  any  principal  note.  They 
always  have  the  short  embellishing  sound,  giving,  so 
to  say,  a  double  anticipation  to  the  coming  tone. 


Q.  Of  what  do  double  grace  notes  consist  ? 
A.  Two  short  notes  preceding  any  principal  one. 
Q.  What  sound  do  they  always  have  ?  . 

A.  The  short  embellishing. 


o       n  i 

■—         i 

■Written. 

hi    )  r3 J    i 

1     1    Pr    r 

i 

bp+— **-?- 

— 4 — y — i 

-j^-d — *—•'—* — d— 

-^   ^-fH1 

^P| 

KJL4     . 

i 

P^ 


Performed. 

I         4      —0-*~r 


zSzrz 


-r—rtt 


JtJL: 


-&-— 


I 


3~£ 


p. 


5 


(See  Practical  Department,  Lesson  XXJ'Iff.) 


ELEMENTARY  DEPARTMENT. 


83 


Lesson  XXIX.— Dynamics. 


EMBELLISHMENTS. 

Turn.  This  is  formed  out  of  the  principal  note  in 
connection  with  the  degree  both  above  and  below 
the  note. 

When  the  turn  is  placed  above,  it  commences 
with  the  degree  above  the  principal  note,  and  if 
placed  below,  it  commences  with  the  degree  below 
the  same. 


TEACHER  AND  STUDENT. 

Q.  What  is  formed  out  of  the  principal  note  In 
connection  with  the  degree  both  above  and  below  the 
note?  A.  The  Turn. 

Q.  When  above  a  note,  what  degree  does  it  com- 
mence with  ?  A.  With  the  degree  above. 

Q.  When  the  turn  is  placed  below  ? 

A.  It  commences  with  the  degree  below  the  note. 


■Written. 


fcP? 


2. 


I 


Performed. 


iEm^pEf, 


*± 


m 


Shake  or  Trill.  Consists  of  a  number  of  repeti- 
tions of  grace  and  principal  notes  in  quick  succes- 
sion, beginning  with  the  degree  above  the  principal 
note. 

The  sign  is  either  W  or    IT 


Q.  What  does  a  shake  or  trill  consist  of? . 
A.  A  number  of  repetitions  of  grace  and  principal 
notes  in  quick  succession. 

Q.  Which  degree  does  it  begin  with? 
A.  The  degree  above  the  principal  note. 


Written. 

h-    ■    ■ 


M£=± 


Performed. 


m 


-PH £h P #- 


iH 


84 


MUSIC  AT  SIGHT. 


Appoggiatura.     This  term  includes  all  of  the  pre-  Q.  What  does  the  term  Appoggiatura  include  ? 

ceding  embellishments — grace  note,  turn,  shake  or  A.  All  the  preceding  embellishments— grace  notes, 

trill, — and  the  following  may  also  be  classified  with  turn,  shake  or  trill, 

this  term,  viz:  Q.  What  may  also  be  included  in  this  term  ? 

Portamento.      Instantaneous  gliding  into  or  an-  A.  Portamento, 

ticipating  the  coming  tone;  a   previous  recognition  Q.  What  is  meant  by  portamento? 

of  the  coming  tone,  just  sufficient  to  be  clearly  dis-  A.  Instantaneous  gliding  into  or  anticipating  the 

tinguished.  coming  tone. 


"Written. 


Performed. 


i- 


=£t 


Addenda.     Any    number  of  small    notes   not  in-  j      Q.  To  what  term  do  any  number  of  small  notes 
eluded   in  the  rhythm  belong  to  the  term   Appog- 1  not  included  in  the  rhythm  belong  ? 
giatura.  A.  Appoggiatura. 


"Written. 


Performed. 


Appoggiatura. 

May  also  be  performed. 


^•4— ffl-— ;g-p-..g2_,pi!g :^^-^-^-f-a"p--p-a_pjg".i:_g~,^-^-g""-^-^_|g_|^-|^-i*_p_j-^pffi^3 


Written. 


Performed. 


Also  thus  : 


And  thus  : 


^^g^^l^-Sp^fg 


I. See  Practical  Department,  Lesson  XXIX.) 


ELEMESTA  R  7  DEPA  R  TMENT. 


85 


Lesson  XXX. 

VOCAL  DELIVERY. 
Vocal  Delivery  is  one  of  the  important  points  for 
the  teacher  to  dwell  on,  and  to  impress  upon  his  pu- 
pils. Indeed,  it  is  but  bringing  out  the  beauties  of 
vocal  music  to  be  able  to  pronounce  the  vowels  cor- 
rectly, prolonging  carefully  to  the  required  length 
indicated.     Dwell  only  upon  the  vowels. 

Good  Pronunciation  in  singing  should  be  con- 
trolled by  the  same  rules  as  govern  correct  delivery 
in  speech. 

Let  the  pronunciation  be  distinct,  rich  and  full, 
and  let  the  heart  speak  through  the  lips  to  give  soul 
to  the  words  and  music. 

Good  Enunciation.  Consonants  should  be  uttered 
quickly,  distinctly  and  with  great  precision;  avoid 
all  indistinctness  of  them  in  the  articulation  of  the 
words ;  yet  there  should  be  no  harshness  in  uttering 
them.  Be  careful  that  you  do  not  join  them  to  the 
wrong  word,  like  "Snow-shave,"  for  "Snows  have,"  ! 
"  rain-shave,"  for  "  rains  have  poured,"  "  signal-still," 
for  "signals  still,"  "a-notion,"  for  "an  ocean," 
"lasts-till  night,"  for"  last  still  night,"  "on  neither," 
for  "  on  either,"  etc. 

Good  Articulation.  The  distinct  and  separate 
sounding  of  each  tone  rich  and  full,  and  an  easy 
(without  straining  the  voice)  manner  of  delivery. 

Careful  and  distinct  articulation,  pronunciation 
and  enunciation  are  of  the  utmost  importance. 


-Dynamics. 

TEACHER  AND  STUDENT. 

Q.  What  should  the  teacher  particularly  try  to 
impress  upon  his  pupils  ? 

A.  Vocal  delivery. 

(J.  What  is  the  correct  and  distinct  sounding  of 
the  vowels  (tonic  element)  called? 

A.  Good  pronunciation. 

Q.  By  what  rules  should  the  pronunciation  in 
singing  be  controlled  ? 

A.  By  the  same  rules  that  govern  correct  delivery 
of  speech. 

Q.  Must  the  voice  dwell  to  the  full  value  of  the 
note  required  on  the  vowel  sound '.' 

A.  Yes. 

Q.  Can  we  not  in  a  long  tone  dwell  partly  on  the 
consonant  ? 

A.  Never. 

Q.  What  is  the  distinct  utterance  of  the  conso- 
nants called  ? 

A.  Good  enunciation. 

Q.  Should  the  consonants  be  sounded,  and  part  of 
the  value  of  the  note  be  allowed  to  them  ? 

A.  No. 

Q.  JIust  they  be  uttered  quickly,  distinctly  and 
with  great  precision  ? 

A.   Always. 

Q.  What  is  the  distinct  and  separate  sounding  of 
each  tone  called  ? 

A.  Good  articulation. 


80 


MUSIC  AT  SIGHT. 


Sing  the  following;  read  it  first: 

"  Haste  thee,  winter,  haste  away. 
Far  too  long  has  heen  thy  stay ; 
Far  too  long  thy  winds  have  roared, 
Snows  have  heat  and  rains  have  poured : 
Haste  thee,  winter,  haste  away, 
Far  too  long  has  been  thy  stay." 

Accent,  Emphasis,  Pause.     The  pupil  will  i 


Q.  What  is  said  of  accent,  emphasis  and  pause  in 
regard  to  singing  ? 

A.  The  laws  to  which  they  are  subject  in  reading 
should  generally  be  preserved  in  singing. 

Q.  If  poetry  is  to  receive,  in  addition  to  its  beau- 
ties, a  musical  expression,  must  it  not  be  subject  to 
its  laws  ? 

A.  Yes;  unless  they  should  come  in   conflict  with 


ber  that  accent,  emphasis  and  pause  are  some  of  the  I  the  laws  of  elocution,  which  cannot  be  permitted. 


Q.  What  would  be  the  best  course  to  pursue  in 
that  event  ? 

A.  Give  a  liberal  interpretation,  uniting  both 
speech  and  song,  to  enable  the  singer  to  grasp  the 

har- 


beauties  of  elocution.  If  the  soul  of  poetry  is  to  be 
brought  forth,  with  the  addition  of  musical  expres- 
sion, the  spirit  of  the  words  must  be  preserved  in 
connection  with  the  laws  of  music,  yet  the  latter 

must  never  be  permitted  to  conflict  or  set  aside  the  ,  spirit  of  both,  but  always  retain  the  emotional 

laws  of  elocution.     Let  speech  and  song  unite  and  acter  of  the  poetry. 

give  a  liberal  interpretation  to  enable  the  singer  to  Q.  How  will  poetry  and  music  be  most  effectually 

grasp  the  spirit  of  both,  making  the  emotional  char-  united? 

acter  of  the  poetry  his  own,  surrender  himself  to  his  A.  By  the  performer  making  the  poetry  his  own, 

work,  and   so  communicate  with  the  sympathies  and  pouring  forth  not  the  words  from  his  lips  only,  but 

emotional  feelings  of  his  audience  that,  enraptured,  it  speaking  from  his  whole  heart,  with  all  the  power 

shall  experience  a  foretaste  of  the  grand  song,  when  and  emotion  surrendered  to  song.     His  audience  will 

all  the  redeemed  shall  join  in  that  land  where  song  catch  the  spirit,  and  both  soar  aloft  enraptured  in  a 

and  praise  shall  be  for  ever.  world  of  song. 

(See  Practical  Department,  Lesson  XXX.) 

Lesson  XXXI.  — Miscellaneous. 

Appendix.       The  following  terms,  in  addition  to  those  explained  in  Lessons  XIV.  XV,  XXVI  and 
XXVII,  are  often  used  and  will  be  found  convenient  for  reference. 

Solo.      Alone.     Single  voice  or  instrument.  Quartet.     Four.     Four  voices,  or  parts,  singly. 

Duet.     Two.     Two  voices,  or  two  parts,  singly.  Quintet.     Five.     Five  voices,  or  parts,  singly. 

Trio.     Three.     Three  voices,  or  parts,  singly.  Sextet.     Six.     Six  voices,  or  parts,  singly. 


EL-EMENTA R  Y  DEPARTMENT. 


87 


Septet.     Seven.     Seven  voices,  or  parts,  singly. 

Octet.     Eight.     Eight  voices,  or  parts,  singly. 

Soli.  Plural  of  Solo.  Two  or  more  principal 
parts,  neither  being  doubled. 

Semi-Chorus.  A  composition  executed  by  more 
than  one  to  each  part. 

Chorus  and  Tutti.  All  together;  all  the  perform- 
ers joining. 

Baritone.  A  voice,  or  register,  in  compass  between 
tenor  and  bass. 

Air.     A  leading  part,  a  melody. 

Primo.     The  first  or  leading  part. 

Secondo.     A  second  to  a  leading  part. 

Obligate     A  part  indispensable. 

Interlude.  An  instrumental  passage  between  two 
parts. 

Ad  Lib.     At  the  pleasure  of  the  performer. 

Finale.     The  last  piece  of  any  act  or  programme. 

Sonata.  A  composition  consisting  of  several  move- 
ments. 

Rondo.  A  composition  of  several  strains,  at  the 
end  of  each  of  which  the  first  is  repeated. 

Affettuoso.     Affectionately,  tenderly. 

Accellerando.     Accellerating  the  movement. 

Agitato.     With  agitation. 

Virtuoso.     Proficient. 

Scherzando.     In  a  light,  playful  style. 

Marziale.     In  martial  style. 

Maestoso.     Majestic,  dignified,  expressive. 

Falsetto.  Tones  produced  by  using  the  head  register. 

Voce  di  Testo.     Head  voice,  or  register. 


Tasto  Solo.     Without  chords. 

Chord.     Two  or  more  parts  combined. 

Voce  di  Petto.     Chest  voice,  or  register  for  it. 

Chant.  A  song  or  melody,  the  vocal  part  in  reci- 
tative style. 

Cadence.     A  closing  part. 

Prelude.     An  introduction. 

Pastorale.     A  soft  and  rural  movement. 

Symphony.  An  orchestral  composition  of  many 
parts. 

Theme.     A  subject. 

Loco.     Just  as  written,  in  regard  to  pitch. 

Tremolo.  Iteration  of  a  note  or  chord  with  great 
rapidity. 

Metronome.  An  instrument  for  indicating  the' 
exact  time  of  a  piece  of  music. 

Quasi.     In  the  manner  or  style  of. 

Solfeggio.     A  vocal  exercise. 

Volti.     Turn  over. 

Verse.     One  performer  to  each  part. 

Bis.     Twice.     The  same  again. 

Ma.     But. 

Molto.     Very. 

Piu.     More. 

Dolce.     Sweetly. 

Non.     Not  necessary. 

Sempre.     Always. 

Rapido.     Rapidly. 

Largo.     Very  slow. 

Dur.     Major,  in  speaking  of  keys  and  modes. 

Mol.     Minor,  in  speaking  of  keys  and  modes. 


INTRODUCTION  TO   PRACTICAL   DEPARTMENT. 


In  presenting  this  Practical  Department,  the  following  hints  may  be  noted  : 

To  the  student  who  is  deprived  of  the  aid  of  a  teacher  this  work  will  offer  a  rare  opportunity  for  self 
instruction.  Follow  the  directions  as  though  a  teacher  were  present  to  see  that  each  lesson  be  faithfully 
studied,  and  every  exercise  thoroughly  practiced. 

To  the  Singing  Class  it  is  needless  to  say  that,  in  the  presentation  of  these  lessons  and  exercises, 
there  will  be  found  the  most  delightful  study,  as  well  as  pleasant  recreation,  in  which  the  evening  can  be 
.  passed. 

For  the  Public  School  Room,  for  which  this  treatise  is  especially  designed,  it  is  believed  that  no 
study  could  be  introduced  which  would,  in  so  large  a  measure,  add  to  the  happiness  of  the  children  as 
music,  nor  could  any  exercises  make  the  school  more  attractive. 

The  secret  of  success  lies  in  faithful  attention,  strict  obedience,  earnest  study  and  prompt  application. 

Note.  1.  For  public  schools  it  is  understood  that,  although  some  of  the  teachers  may  not  have  voices 
to  sing,  they  have  the  organ  "tune"  to  distinguish  sounds. 

2.  Whether  the  class  be  seated  or  standing,  they  must  face  the  teacher,  who  will  require  perfect 
attention. 

3.  Detect  the  first  tendency  to  impure  voice;  correct  immediately  the  habit  of  forcing  or  jerking  the 
tones,  and  sing  with  perfect  ease. 

4.  The  position  of  the  body  must  be  erect,  shoulders  slightly  back,  chest  front,  head  raised.  The 
whole  position  must  be  natural,  nothing  strained,  neither  looking  around  nor  watching  one  another. 

5.  See  that  each  tone  is  sounded  separately  and  distinctly,  formed  evenly  and  rounded  off  nicely ;  this, 
with  good  pronunciation  of  the  vowels,  and  good  enunciation  of  the  consonants,  is  of  the  utmost  im- 
portance. 

THE  AUTHOR.. 

88 


PRACTICAL   DEPARTMENT. 


Lesson  I. 

Let  the  teacher  (if  gifted  with  a  voice  to  sing)  or  one  of  the  pupils  whose  conversational  voice  is 
nearest  to  middle  C,  make  the  sound  of  vowel  a,  as  in  father.  JIake  it  again  ;  if  too  high,  sound  it  a  little 
lower,  or  if  too  low,  higher. 

Ask  how  many  can  sound  the  same. tone.  Select  those  who  are  correct,  and  repeat  it  many  times. 
See  how  many  can  join.  If  sounded  correctly  by  all,  or  nearly  all,  sound  it  again  and  again,  so  that  the 
tone  may  be  fixed  in  their  memory. 

Let  some  of  the  tones  be  sounded  louder  than  others,  so  as  to  vary  the  expression.  For  a  change,  let 
the  class  be  divided  into  two  divisions ;  assign  to  each  some  of  the  best  singers  as  leaders  ;  change  the  divi- 
sions and  the  leaders,  and  a  very  delightful  recreation  will  be  assured,  both  pleasing  and  profitable. 

Any  pleasing  succession  of  tones  may  be  made  if  the  teacher  have  a  blackboard  at  hand,  or  by  calling 
out  certain  numbers  and  letting  the  pupils  give  the  pitch. 

Exercise  I.  Strict  Attention.  The  teacher  counts  two  times  to  each  section  marked  off  by  the 
perpendicular  lines.     The  students,  in  a  conversational  tone,  sing  the  vowel  a  to  each  count. 

Class.        I  A      a    I  A      a    I  A      a    I       A         j     A      a    I   A      a    I   A      a    I       A 
Teacher.     |Oue,  one,  |One,  one,  [One,  one,  |One,  one,  |  One,  one,  |  One,  one,  |  One,  one,  |  One,  one. 
Words.         Strict   at  -  ten  -  tion,    eve  -  ry  one,  To      the    stud  -  y       now    be      -    gun. 

The  class  sings  the  same  exercise  over  again,  using  the  syllable  Do.  and  also  the  words,  instead  of 
vowel  a.     Repeat  it  many  times.     Divide  the  class  into  two  divisions,  like  suggested  above,  one  taking  the 


90  MUSIC  AT  SIGHT. 


teacher's  part.  Change  parts  to  loud  and  soft;  change  the  divisions,  one  taking  the  other's  part.  Note 
that  to  some  of  the  sounds  there  are  two  counts.  Emphasize  the  sound  to  the  capitals  ;  sing  softer  to  the 
small  letters. 

Exercise  2.     This  is  the  way.     Two  counts  to  each  section.     Some  of  the  counts  have  two  sounds. 

C/nss.         I   A     a  a   I   A       a     I   A       a     I        A         I    A  A     a    j  A  A    a     I    A      a    I        A 
Teacher.     \  One,  one,  |  One,  one,  |  One,  one,  [One,  one,  |  One,  one, 'One,  one.  j  One,  one,  |  One,  one. 
Words.  This  is  the  way   we     must    be      -    gin,  Little  by     little  and     all    join  in. 

Let  the  class  sing  the  same  exercise  many  times;  use  vowels,  syllables  and  words.  Change  parts,  etc., 
like  in  Exercise  1. 

In  the  two  preceding  exercises  we  have  only  one  pitch.  It  is  well  if  the  same  be  thoroughly  fixed  in 
the  memory.  Sound  every  tone  distinctly  and  in  perfect  time.  Sing  again  in  a  joyous,  and  also  in  a 
plaintive,  tone.     Keep  the  pitch  near  to  a  conversational  tone,  or  to  middle  C. 

Exercise  3.  Now  we  "will  sing.  Teacher  count  as  before,  but  without  having  the  counts  noted 
down  in  the  exercise.  Class  sing  to  syllable  Do,  vowels,  number  one  and  words.  Emphasize  as  before; 
vary  the  expression,  change  parts,  etc. 

Class.      [  Do     do  do  j  Do     do  do  I  Do      do  Do      |     Do     do  I  Do  do  do  |  Do  Do  do  ]       Do       | 

Words.        Now  we  will    join     in    a       mer  -  ry  sons,       And    the  words  to  the      mu-sic  pro    -    long: 

|  Do     dodo  !  Do     dodo  j  Do      do  |       Do     |    Do     do  |  Do     dodo  |  Do      do         Do      || 
Glad  are  we      all   that  we   have     this      chance ;     There   is    hope  that  we'll  soon      ad  -    vauce. 

After  a  good  practice  of  the  preceding  exercises,  try  and  have  the  class  sing  a  tone  in  a  higher  pitch, 
say  tone  two,  syllable  Re.  Select  one  of  the  pupils  to  sing  tone  one,  then  raise  the  tone  one  step  higher — 
tone  two.  See  how  many  of  the  pupils  can  join  in  singing  tone  two;  try  entire  class.  Sing  alternately 
tone  one  to  the  one  count,  and  tone  two  to  the  second.  Vary  in  any  manner  circumstances  may  suggest. 
As  much  as  possible  bring  out  all  the  points  in  Lesson  I. 


PRACTICAL  DEPARTMENT.  91 


Lesson  II. 

Exercise  4.     Bar,  Measure,  Double  Bar,  Close. 

Bar.  Bar.  Bar.         Double  Bar.  Bar.  Bar.  Bar.  Close. 


|   Measure.   I   Measure.   |   Measure.   |   Measure.    |    Measure.     |    Measure.   |   Measure.   |   Measure. 
Exercise  5.     Point  out  the  bars,  measures,  double  bar  and  close. 


Exercise  6.     Double  Measure.     Two  points  or  beats  to  the  measure.     Accent  the  down  beat.     Capi- 
tals represent  the  accented  beat,  small  letters  the  unaccented. 

|  Down,  up  |  Down,  up  |  Down,  up  |  Down,  up  |  Down,  up  j-Down,  up  |  Down,  up  |  Down,  up  | 

Exercise  7.     Oome  let  us  sing.     Double  measure.     Accent  the  first  or  down  beat.     Tone  one  syl- 
lable Do.  and  tone  two  syllable  Re.     The  difference  in  pitch  between  tone  one  and  tone  two  is  a  step. 

Tone  2.  I 

Tone  1.  |  Do  do  do  |    Do      do    |    Do      do 
Words.    Come  let  us     sing      tones    one      and 

Tone  2.  I  Re   re  re   I  I   Re 

Tone  1.  I  [  Do  Do  do  |  do 

Go  get  your     ticket  and     join     the 

Exercise  8.     Down,  up,  Down.     Exercise  in  two  parts.     Divide  the  class  into  two  parts,  the  first 
sing  the  upper  line,  the  second  sing  the  lower.     Both  beat  time.     Change  parts.     Vary  the  time." 

Tone  2.  I  re  I   Re      re  Re      I  Re    re  re  I  re 

Tone  1.  |   Do  |  Do  do  do  |  j  |  Do  Do  do  |   Do  Do 

Words.     Down,     up,    Down.  What  a  great    sur    -    prise  !     Keeping  to  -  geth-er  with  hand    and        voice. 

Tone  2.  I  „        I  Re  Re  re  I     Re      I  Re    re  re  |  re 

Tone  1.  |    Do  I  Do  Do  Do  do  |   Do  Do 

Words,      Down,  Down.  What    a  sur  -    prise!     Keeping  to  -  geth -er  with  hand     and        voice. 


Re 

1    Re 

re 

1   Re      re 

1  Re  Re 

re  1 

Do 

two  ; 

Two 

is 

one      step 

high-er 

i  you 

know. 

Re 

1    Re 

re 

|  Do  Do  do 

1    Re 

re     1 

Do 

ring, 

Tune 

your 

voic-es  and 

learn 

to 

sing. 

* 


92 


AWSTO  AT  SfOHT. 


Exercise  9.  Now  we'll  start  off  ahead.  Round  in  two  parts.  Divide  the  class  into  two  divisions ; 
start  one  first.  When  it  reaches  the  second  part,  start  the  second  division  from  the  beginning.  Two  beats 
to  the  measure.     Sing  a  number  of  times,  and  end  by  the  first  division  repeating  the  last  part. 

Part  1.  Part  2. 

Tone  2.1  re  I  re  I  re  I  j  re  re  I  re  re  I  re  re  I  1 1 

Tone  I.  |  Do  Do        !  Do  Do        |  Do  Do  Do      |    Do  Do  [Do  Do      l| 

Words.    Now  we'll  start  off  a-head  ;  you  will  come  next ;     Then  we'll  re-turu  and  re  -  peat  all  the       text. 

Exercise  10.  Here  we  go.  Sing  numbers,  tone  one  and  tone  two.  Double  measure.  Accent  the 
down  beat. 

Tone  2.       I  21  I  21  I  21  21  2     1 

Tonel.  1  ill  |      1       I      1  1  1  |       1 

Words.  Here      we  go,  to       and        fro.  O'er      the         ice      and   through  the         snow. 

Exercise  II.  Let  us  sing.  Double  measure.  Add  tone  three,  syllable  Mi.  The  difference  in  pitch 
between  tones  two  and  three  is  a  step.  First  practice  tone  three  similar  to  the  plan  suggested  by  tones  one 
and  two. 

ToneS.  I  I   Mi  I  J     Mi 

Tone  2.  j  re  re  re 

Tone  1.  |    Do  |   Do  do 

Words.        Let       us       sing     tones     one,     two,      three,         Re 


mi 
Re.  Re 


Re 


mi        Ee       do,      Dou't     you 


Do 

see? 


Exercise  12.    On  this  joyous  festal  day.    Song  in  double  measure.    Sing  syllables,  numbers,  vowels 
and  words. 


Tone  3.   I  I   Mi       mi 

Tone  2.  re 

Tone  1.   |    Do       do    |   Do 

Words.         On        this      joy  -    ous       fes    -    tal 


Re 
dav 


Mi 


Re      re        Re 


Join    us 


re 


do 


Tone  3.   I    Mi       mi    I 
Tone  2.  I    Re 

Tone  1.  do 


Mi 


Re 


do 


I)..        do    I    Do 


re 


Bells      are       ring  -  ing,      chil  -  dren     sing-ing,      Glad  -some    prais  -    es       here 


pro 


Do 


our      grate  -  ful         soug. 
I    Mi 


Do 

long 


PEA CTICAL  DEPARTMENT. 


93 


Exercise  13.     Do  we  sing  these  notes.     Round  in  two  parts.     Sing  as  before  and  repeat  last  part. 

Part  1. 

|   Mi      mi 

Re 


Tone  3.   I 

Tone  2. 

Tone  1.    I  Do       do 


Do      do 


Part  2. 
Mi       mi 


do 


Mi 


Do       do 


Mi     mi 


Words. 


Do 


we       sing    these    notes     so     sprightly?     Won't  you        an  -  swer,     Yes,       po   -   lite-  ly? 


Exercise  14.     Come,  ye  timid  ones.     Song.     Accent  the  down  beat.     Sing  syllables,  numbers,  vow- 
els and  words. 


Tone  3.    | 

Tone  2. 

Tone  1.       Do 


do 


Re 


Mi 


Re 


do 


Mi 


Mi 


do 


Re 


Words.      Come,     ye       tim  -  id        ones,    draw     near ;       You      have  naught    to       dread      or 
Exercise  15.     He  -who  -wears  a  frown.     Round  in  two  parts.     Sing  vowels  and  words. 


Do 

fear. 


Part  1. 


Tone  3. 
Tone  2. 
Tone  1. 
Words. 


A  a 

He       who    wears       a        dark  -  ened     frown,      Friendship     is 


Part  2. 

A        a 

A 

a 

A 

a 

A 

Friendship 

is 

to 

hiln 

un  - 

known 

Exercise  16.     You  and  I.     Numbers.     Commence  with  tone  three.     Accent.     Mark  the  time. 

ToneS.   I         3 
Tone  2. 
Tone  1. 


Words. 


You 


2 

and 


1     I     1 

shall      be 


1 
In 


ed 


l    ! 

the    com 


pa 


1 
nv. 


Exercise  17.     Here  in  this  Round  -we  go.     Round  in  two  parts.     Sing  over  many  times,  and  close 
by  first  division  repeating  the  last  part. 


Tone  3. 

Mi 

Tone  2. 

Re 

re 

*    Tone  1. 

Do 

Do 

do 

Words. 

Here 

in 

this 

Round 

we 

go, 

Mi 


Mi 


Re 

Ee 


do 

do 


Mi 


Mi 


Do 
Do. 


94 


MUSIC  AT  SIGHT. 


Exercise  18.     Triple  measure.     Three  points  or  beats  to  the  measure.     Down,  left,  up. 

|  Down,  left,  up,  |  Down,  left,  up,  |  Down,  left,  up,  |  D.  1.  u.  |  D.  1.  u.  I  D.  I.  u.  |  D.  1.  u.  |  D.  1.  u. 

Exercise  19.     Exercise  in  triple  measure.     Accent  the  first  or  the  down  beat. 

Mi  mi  mi  I 


Tone  3.  I 

Tone  2.  Re    re  re 

Tone  1.  |  Do  do  do 

Mark  time.  Down,  left,  up,  D.     1.  u.,     D 


Re 


u.,     D.  1.  u.     D 


I  Mi  mi 
Re     re  re  re 

Do  do  do  |  Do 

u.,     D.     1.    u..     D.    1.    u.,    D.  1.  u. 


Exercise  20.     Do  you  know.     Song  in  triple  measure.     Sing  vowels,  numbers,  syllables  and  words. 


Tone  3.    I 

Tone  2.  re 

Tone  1.      Do 


Mi 


Do 


Re 


do 


Do 


mi  | 
re        j  Re         re 
Do  do 


Do 


Words.      Do  you  know  where  to  go,  What  notes  to     find,  When  these  three,  Do   re  mi,    are  fixed  in      mind? 


Exercise  21.     Angel  guardian.     Song  in  triple  measure. 

Tone  3.  |  Mi  I  Mi  I  mi  I  Mi  I  Mi 

Tone  2.  re  re  Re         re  re  re 

Tone  1.  I  do  I  do  |  do        |  Do  do  |  do  |  Do 

Words.  There  is  an     an -gel  who     si-leut-lv  watches  Thy     ev  -  e  -  rv    ac-tion;then  do  what  is       right. 


mi 
re  Re         re 

do 


Tone  3.  | 

Tone  2.  i  Re         re 

Tone  1.  I  do 

Thee,  to   at 


Mi 


Mi 


Re         re 

do 


Mi  I    Mi  mi 

re  re  Re         re 

do  do 


Do 


tend,        Thee   to  de   -    fend,       Watches   be  -  side  thee  by      day  and  by      night. 
Exercise  22.     Come  sing  this  Round  with  me.     Round  in  triple  measure. 


Part  1. 
Tone  3.  I  mi  mi  I 

Tone  2. 1 
Tone  1.     Do  Do 


mi  mi  I  Mi  mi 


do 


Mi 


Part  2. 
Mi 


Mi 


do  do 


do  do 


Do  do 


Do 


Words.  Come  sing  this  Bound  with  me.  Now  you  be  -  gin.        I  must  go    back    a-gain  where  we  start     in. 


PRACTICAL   I)  EPA  HTM  EXT. 


95 


Exercise  23.     Haste  to  the  fields  away.     Duet  in  triple  measure.    Two  parts  together.    Girls  sing 
the  upper  part,  boys  the  lower. 


Tone  3. 
Tone  2. 
Tone  1. 


Do 


Do    do  do        Do 


Do 


Do 


Mi 


Do 


do 


Words.     Haste    to  the    fields    a-way,  Haste  !     haste  a  -way     On  this  our  heau  -  ti  -  ful     fas    -    tal 


Tone  3. 
Tone  2. 
Tone  1. 


Do 
Haste! 


Mi 

Re  re 

do 
haste !      haste    ye     a 


Do 

war, 


Mi 


Do 

This 


do 


Do 


beau  -  ti  -  ful      fes 


re 

tal 


Do 
day. 


Do 

day. 


Exercise  24.     What  our  hands  find  to  do.     Duet.     Sing  syllables,  vowels,  numbers  and  words. 


Tone  3. 
Tone  2. 
Tone  1. 


mi  mi  I  Mi 


Re 


Mi 


Do 


do  do 


do  do 


mi  mi  I  Mi 


Re 


Do 


do  do 


Words.     What  our  hands  find  to  do,      do  with  a        will;       Thus  we  shall  sure  -  ly  our     mis-sion  ful 


Do 
fil. 


Tone  3.   I  Mi 
Tone  2. 
Tone  1. 


do  do      Do 


Mi 


re 
Do        do 


Mi 


do  do     Do 


Do    do  do        Do 


Exercise  25.     Bim,  Bom.     Round  in  four  parts.     Repeat  the  last  part  for  a  close. 
1st  part.  2d  part.  3d  part.  4th  part. 


Tone  3. 

Tone  2. 

Tone  1. 

Do 

Do 

Words. 

Bim. 

bom 

Mi 


do  ■> 


Do 


do 


Mi 


Bim  bom  bell,  Bim  bom  bell.     Hear! 


Mi 


Hear ! 


Mi 


Do 


do 


do 


All     is    well,     All     is  wc 


Exercise  26.     Sing  and  be  merry.     Round.     In  fourth  and  eighth  measures  give  two  beats  to  the 
large  figures.. 


Tone  3. 
Tone  2. 
Tone  1. 

3 

3 

|   3        3 

1 

Words. 

Sing, 

sing, 

sing   and   be 

1 

Sing, 


1 

sing. 


11  11 

sing  and  be       mer  -  ry. 


96 


MUSIC  AT  SIGHT. 


Exercise  27.     Quadruple  measure.     Down,  left,  right,  up,     Main  accent  to  the  down,  and  a  slight 
accent  to  the  right  heat. 

|  Down,  left,  Eight,  up,  |  Down,  left,  Right,  up,     Down,  left,  Eight,  up,  |   Down,  left,  Eight,  up.  | 

Exercise  28.     Exercise  in  quadruple  measure.     Sing  vowels,  numbers  and  syllables.     Beat  the  time. 


Tone  3.   I 

Tone  2.  Re.  re  Re  re 

Tone  1.     Do   do    Do   do 


Mi  Mi 


Re 


|  Mi 
Ee  re  Ee  re  Ee 

Do  do  Do  do  Do 


Time.    Down,  left,  Right,  up,  D.    1.    R.  u„  D.  1.  R.  u.,  D.  1.  E.  u.,    D.    1.    E.  u.,    D.    1.    R.  u.,  D.l.E.  u.,  D.l.  K.u. 


Exercise  29.     Busy.     Duet  in  quadruple  measure.     Divide  class  into  two  parts.     Accent  and  mark 
the  correct  time. 


Tone  3.    I 

Tone  2. 

Tone  I.     Do  do  Do  do 


Mi 


Mi  mi  Mi 


Mi 


Do 


do 


Mi  mi  M i  mi  I 


Mi 


Do     Do 


Do  do       Do 


Words.       Bu-sy    in  the    morn-ing,    Bu  -  sy  at    the      noon,        Bu-sy    in    the*  twi-  light.  Rest  eonieth       soon. 


Tone  3.    I  Mi  mi  Mi  mi 
Tone  2. 
Tone  1. 


Mi 


Do 


Do  do  Do 


Dc 


|  Mi  Mi  I    Mi  mi  I  Mi 
Do  do  Do  do         Do 


Exercise  30.  Listed  for  the  conflict.  Tones  one,  two,  three  and  four.  The  difference  in  pitch 
between  tones  three  and  four  is  a  half  step.  Practice  tone  four  thoroughly;  proceed  as  suggested  by  the 
other  tones. 

Tones. 

"4   |  Mi  fe  |  F:1  mi  Mi  fa  I  Mi  mi 

!  Re 


Ee 


3 

2  re  Re  re 

1     |  Do  do  [  Do  Do 

Words.  We  have  listed    for  the  conflict     In  the  causeof  truth  and  right,  What    -    so 
Tones. 


Mi  fa    Mi 


re 
ev  -  er  may  be 


Do 

tide. 


„4    I   ,r.       •  Fa 
3        Mi  mi        mi 

2 

1 


Mi 


Mi  mi 


•  Fa  fa 


Re  re 


do 


Mi 


do 


Do 


We've  a  strong  and  mighty  Captain,  Who  his  men  doth  safely  lead.       He 


Re 
has 


Mi  fa  Mi 

re  I 

Do 
never  known  rle-  feat. 


PRACTICAL  DEPARTMENT. 


97 


Exercise  31.     Pure  and  spotless.     Duet.     Quadruple  measure.     Sing  syllables,  numbers  and  words. 
Accent,  etc. 


Tones. 


3**      Mi  mi  Mi 


Fa  fa 


Mi 


Re  re 


1 


do 


Do    Do  do  Do 


Fa  fa 


Mi 


fa 


Re  re 


Mi 


Do 


Do  do  Do 


Pure  and  spotless,  silver  white,  Watch  the  flakes  so  gay  and  blithe!  Through  the  air,  have  a  care,  They've  a  mission  here. 


3     I 
2 

1        Do  do  Do 


Fa  fa 


Mi 


Mi  mi  Mi 


do 


Re  re 


Do 


Fa  fa  Mi 


Re  re 


Mi  mi  Mi 


Do 


Do 


Exercise  32.     Good  kind  neighbor.     Song  in  quadruple  measure.     Note  pitch  four;  try  to  skip  from 
tunc  one  to  tone  four. 


Tones. 

34J 
2 

1  Do 


Mi 


fa 


Mi 


ia 


Do 


fa  fa 


Do  Do 


Mi 


Do 


Fa      . 

mi 


Re 


do 


Good  kind  neigh-bor,     while  you    la  -  bor,         Do    not    fail    to  find    your    rest;         O  -  ver  -  do  -  ing 


Fa       . 
mi 


Re 


do 


Fa       . 

mi            mi 

Re 

re 

Do 

Do 

Fa 


Mi 

do  do 


Re 


Mi 

do  do 


long  pur  -  su  -  ing      Nev  -  er    pays:  it  is        not    best.        If  you'll  heed  this      time-ly    warning, 


Fa 


Re 


do 


Mi  mi 


Re 


Mi 


Do 


do 


Mi 


Re  re 


do 


Fa 


Mi 


Re 


do 


Do 


You  will  uev-er      feel  re  -  gret      For  the  time  of      rec  -  re  -  a-tion  While  the  hours  and  moments  sped. 


- 


MUSIC  AT  SIGHT. 


Exercise  33.     Brothers,  sisters,  schoolmates.     Duet.  Quadruple  measure.  Sing  all  together  first ; 
afterward  as  a  duet. 


Tones. 

34   I            Mi  fa 

Mi 

2              re 

re 

1      |Do 

Do 

Fa      .  I 

nu  |         mi 

Re  Ri 

do  Do 


,r.        Fa      • 

.\1 1  mi 

do 


fa  -,r- 1 ->,-        Fa      ■  I 
Mi   Mi  mi 


Re 


Re  re 


do 


Do 


Brothers,  sisters,  schoolmates  all,  We  must  heed  the  master's  call :  To  our  places  now  return.  Tasks  pursue  and  lessons  learn. 


„4  ,  Fa     .IFa      •  Ur- 

3  l  mi  mi  Mi 

2  re  I  Re  Ri 

1  |  Do  do  Do      |  Do  do  |       do 


Re 


Do 


Fa 


do  J  Do [ Do 


Re 


do 


Fa  fa 


Mi 


Exercise  34.     Coming  to  climb  up  the  mountain.     Sextuple  measure.     Two  accented  beats   to 
each  measure,  considering  three  counts  in  one  beat.     Capitals  receive  the  accent. 


Tones. 
5 
34 

9 


Do    do    do 


Re     re     re 


Mi 


Do 


Re     re     re      Re  re 

do 


Mi 


Com  -  ing     to     climb  up  the  moun    -    tain,  Com-ing    so        jov  -  ial   and  free; 


Mi    mi    mi 


Fa    fa    fa 


Sol 


Mi 


Sol  sol    sol 


Fa     fa     fa 


Mi 


Bloom  from  the  health-giving  foun    -    tain  Show-ers  its       ra-diance  on  me. 


PRACTICAL   DEPARTMENT. 


99 


Exercise  35.     Come  ye,  this  beautiful  morning.     Duet  in  sextuple  measure.     Two  parts  united. 
Tones. 


Sol     sol     sol 


Mi     mi     mi      Mi     mi     mi 


Fa         Fa 
Ee        Re 


Fa      fa      fa 


Mi     mi     mi 

Ee      re      re 
Do     do     do      Do     do     do 
Come  ye,    this    beau  -  ti  -  fill  mom  -   ing,        Roam  through  the  lnead-ows  with 


Sol     sol     sol     Sol     sol     sol 
Mi     mi     mi      Mi      mi     mi 

Na  -  ture  with  pride    is         a 


La 

Fa  Fa 

Re 

dorn    -     ing 


lr.        •        •      Fa      fa      fa 
Ml     mi     mi 

Be      re      re 

Do     do     do 

Ev  -    e    -    ty       ob  -  jeet     we 


Mi 

Do 

me; 


Mi 

Do 
see. 


Exercise  36.     We  must  be  up  and  be  doing.     Song  in  compound  triple  measure.     Three  accented 
beats  to  each  measure. 
Tones. 


5 

2 
1 

Sol  sol  sol 
Mi  mi  mi 

Do  do  do 

Fa           Fa 
Ee 

Sol  sol  sol 
Mi  mi  mi 

Do    do  do 

Sol 
Re  Re 

We  must  be   up   aud  be    do-ing  our 

du  -  ty  ;  We 

can-not   af  -  ford  to     be      i  -  die    or      pouting ;  But 

5 
34 

i 

Sol  sol  sol 
Mi  mi  mi 

Do  do  do 

Fa           Fa 
Re 

Sol  sol  sol 
Mi  mi  mi 

Do  do  do 

Mi 

Re 
Do 

When  we  are  doue  with  our  lessons  aud    stu  -  dy,  We'll  join   in  the   frol-ic  with  laughing  and  shouting,  Ha  ! 


100 


MUSIC  AT  SIGHT. 


Exercise  37.  We  are  coming',  sang  the  robin.  Duet  in  compound  quadruple  measure.  Four 
accented  beats  to  each  measure.  The  capitals  and  following  tone  form  one  accented  beat-  One  beat  silent. 
Tones. 


Mi  mi    Mi  mi    Mi  mi    Mi 


fa 


Sol  sol   Sol  sol    Sol  sol    Sol 


Fa  fa    Fa  fa    Fa  fa    Fa 


We  are    coming,  sang  the   roh-in,     For  the  woods  and  groves   are  gay  :  Will  yon  give  us  kindly  greeting 


Do  do    Do  do    Do  do    Do 

Sol  sol    Sol 


mi    Mi 


fa 


Mi  mi    Mi  mi    Mi  mi    Mi 


Mi  mi    Mi  mi    Mi  mi    Mi  mi 


fa 


Re  re    Re  re    Re  re    Re 


Fa  fa    Fa   fa 


Mi      S       1 


Do 

Lit-  tie     Jes-sie,   lit  -  tie  May  ?     And  the   pret-ty    rot  -  in  wondered  What  we  had   to  say. 


sol    Sol 


Mi 


Mi   mi    Mi 


Do  do    Do  do    Do  do    Do  do 


Re  re    Re  re 


X       1 


Do 


Exercise  38.     Not  wealth  but  wisdom.     Quadruple  measure.     Commence  with  the  up  beat. 


,„-.      ■  Fa     . 

.Mi  mi        mi 


Sol 
Fa  fa  fa 


Mi  mi 


Sol 


Fa  fa  I  -,r-      •   Fa  fa 
mi  mi  ,  Mi  mi 

Re 


Mi 


Do 

Not  wealth  but  wisdom  take;  Your  talents  use  aright,  And  love  will  help  to  make  Your  life  a  sweet  de  -  light. 


PEA  ('TIC A  L  DEPA  R  TAT  EXT. 


101 


Exercise  39.  No  one  can  tell.  Song  in  sextuple  measure.  Tone  seven,  Si,  and  tone  one  or  eight, 
Do.  The  differenae  in  pitch  between  tones  six  and  seven  is  one  step.  The  interval  between  tones  seven 
and  one  is  a  half  step. 

Tones. 


5*6 


f|8 


sol 


la 


mi 


Fa 


Si  si 

la 


Do 


Do      ■ 

si 


Sol 


fa 


mi 


Ee 


3 

2  re 

1  Do 

No  one  can  tel!  how  much    long-er  _we  stay,         Then    let     us    sing     and      be  joy  -  fill     to  -  day 


la 


sol 


Mi 


Lesson  III. 

Exercise  40.     Notes.     Nota.     Mark,  token,  visible  sign  to  point  out  length   or  duration.     Quarter 
notes,  double  measure.     One  count,  or  point,  or  beat  to  each  quarter  note. 


!  I  I        I    I     J 

00  a         e  e        9  4        4 


J         J     I    .  J         J     I     J    -    J 


4         4 
Quar  -  ter      notes    and        dou  -  hie        meas  -  ure,     Count  the        beats   and      point   with    pleas  -  ure. 

Exercise  41.      Half  notes  and  quarters.     Double  measure.     Two  points  or  beats  to  each  half  note. 

J    I  III       I  I    J    I    J       Ml       I  !   J       II  II 

e>  4  4  4  4  (3444444  0  \\ 

Half        notes     and         quar  -  ters         read,  Ac    -    cent      well      each      down  -  ward  beat. 


Exercise  42.    Dotted   notes.     Triple   measure.     Dotted  half  notes  and  quarters.     Three  points  or 
beats  to  each  measure.     Accent  the  down  beat. 

J                            J           I   I     I           I           I   I"  J      I  J         J           II     I  I          INI        II     J 

•        4        0      o        4        4   \   4        4        4   |     a-    j  J        4        o       o  4        4   \   4      4      0   \    a- 

Dot  -  ted  notes,   tri  -  pie    time,  smoothly      each    tone,  First  beat     of     all  the    three  ac  -  cent    a  -  lone. 


102  MUSIC  AT  SIGHT. 


Exercise  43.     Whole,  half  and  quarter  notes.     Quadruple  measure.     Four  points  or  beats  to  the 
measure.     Main  accent  to  the  down  beat,  and  a  slight  accent  to  the  right  beat. 

I    I      I      I      IN     I      II     I      I      II         III  J  I   J      I      J  I     I     J      I  |         II 

|   a       4      4      &   |   0      4      <5   \    d       d       o         <;     |     s       4       4       4   \    4       4       ->    |    o       4       a         o    j| 
Down,  left,  Eight,  up,  Down,  left,  Right,  Quadruple     time.  Accent  twite,  one  strong,  one  light,  Per -feet   in   rhyme. 

Exercise  44.     Sextuple   measure.     Two  accented  beats  to   each  measure.     Three   counts  to  one 
accented  beat. 

I ; ; ; ; ;  ;i: ; ;  J.    | ; : ; ; ;  :i; ; ;  J. 

Sex  -  tu  -  pie  mens-  are  ili    -  vid  -  ed      by    two;  Ev  -  e  -  ry      stu  -  dent  the      ac  -  cents  must  know. 

Exercise  45.     Compound  triple  measure.     Three  accented  beats  to  every  measure.     Three  eighth 
notes  to  one  accented  beat. 


\     4      4      4      4.    -  4      4    4.      4     ,4  4-      4-      4-  4       4     4      4     4 

Three  times  three,  accented  nine  eighth  notes     now     you      see;  Eve -ry  measure  must  com  -    plet   -  ed         be 


I"    I        I 
a  a  •      a  •      a  ■ 


Exercise  46.     Compound  quadruple  measure.     Four  accented  points  or  beats  to  every  measure. 

\44daa44a444a     \   4    J     a    J    4    J    4  ■  j   4  ■    4  ■    4  ■    a  ■     \  4  •    4  •    e?  • 
Twelve  eighth  notes  here,  are  presented,  and  every  measure  is  completed  now  ;  Thus  we  make  our  rt  -  nal  bow. 


Exercise  47.     Sixteenth  notes.     Quadruple  measure.     Four  sixteenth  notes  belong  to  one  beat. 

I  J*  J*  J*  J*  J*  ^  J*  J*  Is  Is  Is  M  J  J  J  I  J*  J*  J*  J*  J*  £  }  J"  «f  J  I J  J  J II 

\4«44a444eaaa\4      4      d\444444aao4\4a^\\ 
Singing  now  the  merry,  merry  sixteenth  notes  in  joyous  glee.  La,   la,    la,  la,  la,  la,    la,    la,  la,  la,     light  and  tree. 


PRACTICAL  DEPARTMENT. 


103 


Exercise  48.     Thirty-second  notes.     Double  measure.     Eight  thirty-second  notes  to  one  beat. 

J 
two. 


ft 

& 

ft 

ft 

ft 

ft 

ft 

ft 

ft 

ft 

ft 

ft 

ft 

ft 

ft 

ft 

iv 

N 

R 

0 

/ 

/ 

R 

0 

R 

9 

S 

/ 

/ 

/ 

4 

\ 

9 

/ 

/ 

R 

• 

9S 

f 

1          9 

J 

Tia 

la, 

la. 

la, 

la. 

la. 

la, 

la. 

la. 

la. 

la. 

la, 

la, 

la. 

la. 

la, 

thir 

-  ty 

• 

9 

» 

9 

e 

• 

• 

• 

• 

0 

» 

• 

0 

* 

» 

* 

I 

c 

g 

\ 

• 
P. 

V. 

V, 

J 

g 

B 

P 

i 

g 

g 

g 

g 

5 

g 

• 

/ 

/ 

s 

• 

/ 

/ 

P 

P 

• 

P 

• 

P 

/ 

i/        1 

Tra 

la, 

la, 

la. 

la, 

la, 

la, 

la. 

la, 

la, 

la, 

la, 

la, 

la, 

la, 

la. 

all 

for 

r 


Exercise  49.     Triplets  in  quadruple  measure.     One  beat  to  each  group  of  triplets. 


r  i  *  i 

Sing    merrily. 


'  '  '  II  I  \    \ 


i 


i     i  i 


i 


singing.      Triplets  so    merrily  sing,  sing;  Sing  merrily,  sing,  sing.  Triplets  so    merrily    sing 


Exercise  50.     Persevere  in  studies.     Dotted  half  and  half  notes.     Triple  measure.     Accent. 


I 


!  I    >  r  r  I J    i    r } 

•     \      9     •       0      0      0        \     0         0         0-0 


N      r\      N  IS        I 

0  .     000     .  0      0      0-0     \   zi      d  \   ci  •  \    d  •     d    d    d     I  d      d      d-d         '       d  \  0 ' 
Per  -  se-vere  in      stud  -  ies,  Thus  pre  -  pare  the     way      For     the  pressing     du  -  ties    Of  the      com  -  ing    day. 


Lesson  IV. 

Rest.     A  mark  of  a  certain  duration  of  silence  ;  ceasing  from. 

Exercise  51.     Here  we  rest.     Exercise  introducing  the  quarter  rest.     Let  the  student  count  softly  to 
the  duration  of  silence.     Point  to  each  beat,  whether  note  or  rest. 


Tones. 

!  1   J      1 

\    \     d       9 

I        1 
• 

X 

1     1 

• 

1 
• 

1 

• 

X 

1        1 

• 

1 

• 

1        1 
• 

>* 

1 

• 

1 
• 

!  J 

'Syllables.  Do     do 

Re 

Ee 

re 

Do 

Ee 

do 

Ee 

Do 

re 

Do 

Words.      Hpre   we 

rest; 

It 

is 

best; 

For 

in 

■  deed, 

We 

have 

need. 

104 


MUSIC  AT  SIGHT. 


Exercise  52.     Let  us  strive.     Tones  one,  two  and  three.     Quarter  rest.     Double  measure. 
Tones. 


J  •'  i  ' 
Syllables.  Do  re  Mi 
Words.       Let     us       strive 


I 


Re     do         Re 
so        to         live, 


I 


'     J      J     J 


J 


Do      re  Mi      re         Do      re         Do 

Wor  -  thy      tilings     to  do       and      give. 


Exercise  53.     To  our  task  we  go.     Half  and  quarter  note.s  and  rests.     Quadruple  measure. 
Tones. 


n  j  j 

Syllables.  Do       Do       Re  mi  Fa 
Words.        To        our      tasks  we  go 


J  J  *  N   J 


j 


i 


Fa     Mi      Re 

One      bv      one : 


"  JjjN'VIj 

Fa       mi     Re  do  Do  Mi  Re     Do 

Here,  there,  to  and  fro,  Ev  -  er      on. 


Exercise  54.     Double  measure.     Whole  measure  rest.     Half  and  quarter  notes.     Two  beats  to  each 
measure. 
Tones. 


I      I       J    J 

I   0    0   I 

Do  do    Re  re 

Double  measure. 


-- 1  —  I J  J I J  J  J  I  i    I   '  I J  J !  — !  —  I  i  J I  i 
ii  \  J   *  *  i       i     i       *      * 


Mi  sol  Fa  mi    Mi  Re     Mi  mi    Fa  fa 
Perfect  time  we're  keeping;  Higher  mounting, 


iJ       J 

Mi  sol   Mi  do   Re    Do 
Up  the  scale  we're  creeping. 


Exercise  55.     March  in  time.     Round  in  double  measure.     Quarter  and  eighth  notes  and  rests. 

Tones.    Part  1.  Part  2. 

•       I  I                             |    J          [    |    J 

■2           \  J       J 

1        I    0                 0  I     0         0         0    I 

Do          do  Do   do     do     Sol  mi   Sol            Mi         mi              Mi    mi    mi    Mi     do     Mi 

March,  march,  march  in  time  Through  the  ring.       With       glad             voic-esjoin;  Learn  to  sing. 


N  r> 

J        1     J        1 


is     r\     Mi 

•     •     0  \  0 


PRACTICAL  DEPARTMENT. 


113 


Lesson  VII. 

Exercise  76.     Ascend  these  steps.     Syllables  applied  to  the  tones  of  the  diatonic  scale. 


Tones 

71 

6 

5 


1o 
Be 


30 

Mi 


40 
Fa 


5  0 

Sol 


60 

La 


10 
7*    Do 
Si 


2 

1       <s 

Do 

As  -   cend    these  steps  ; 

This   scale      we     all 


be      sure    you 


Do  7^ 

Si 


60 
La 


0  0 
Sol     i0 
Fa 


3* 
Mi 


10 
Ee 


re  right,     And  then     de  -   scend     this  otli    -    er 


must     try 


to   smg 


Be  -  fore      we      learn      an  -  oth 


1  0 
Do 
flight, 
thing. 


Exercise  77.     Try  to  sing  each  single  tone.     Sing  the  syllables,  numbers  and  words. 
Tones. 

1  Do  0  pleted,  Then  you  0  Do 

7  Si  o  all  com-  always  0  Si 

6  La  0  scale  is  can  be  0  La 

5  Sol  0  til  the  certain  o  Sol 

4  Fa  o  tone  un-  that  you  o  Fa 

3  Mi  0  single  have  them  0  Mi 

2  Ee  o  sing  each  right  when  0  Ee 


1     Do  o  Try  to 


needed.  0  Do 


Exercise   78.     When  you  have  learned  to  sing  it  well.     Diatonic  scale  in  triple  measure. 
Tones. 


T1 

3 

5 

4 

I 

2 

1 

Do 

When 

Ee      Mi   Fa     Sol     La 

you    have  learned  to  sing       it   well,  It 


J 

k 

5# 

J\/ 

2* 

J 

>* 

Do  Si 

La 

Sol 

Fa  Mi 

Ee 

Do 

well,  It 

is 

•al  - 

ways  sure 

to 

tell. 

114 


MUSIC  AT  SIGHT. 


Exercise  79.     If  we  practice  every  lesson.     Exercise  in  the  skips  of  the  diatonic  scale. 


Tones. 


I4    4 


J   J    J 

j   J    -    J  |  •        -    J  .  J 


J     i    J 


J 


. 


Do  re  Mi  do    Mi  fa  Mi  do    Re  mi  Re  mi    Do  mi  Sol         Mi     fa     Sol   mi       Sol    la     Sol  mi 
If  we  practice  eve-ry  les  -  son   faithfully   we  shall  succeed  ;       Earn-  est  prac  -  tice    makes  you   per  -  feet 


11,1 


r  r  r 


r  r  r  j    j  j  j  r    r 


Fa  sol  Re  sol       Mi  sol  Do         Do  do  Do         Do    do    Do  sol       Sol  sol  Sol  si         Do 
Is    a    maxim      true  in-deed,      True  indeed,       true    in-deed,  a  maxim  true  in    -   deed. 

Exercise   80.     If  we  go  down  below.     Skips  of  the  diatonic  scale  extended  downward. 
Tones. 

i|trr    I       I        , .     JJJ 


r  1  j  j  j  |  r  r  r  1 1*  r 


I  j  j  j  I  r  r '  r  r 


r 


Mi  mi  Do    Sol  sol  Sol     Si  si   Si     Do  do  Do    Mi  mi  Mi  do  Sol  sol  Sol  do    Si  si  Si   si      Do 
If    we  go   down  be-low.  Ain't  it  nice  when  we  rise?  Then  we'll  try  another  strain  And  sing  the  song  again. 


Exercise  81.     'What  you  want  to  do  or  say.     Round.     Skips  of  the  diatonic  scale. 
Tones.    Part  1.  Part  2. 


•     •    '      S     IS 


6         O 

I4  4   ' 

I    |  ■■   d    4    m 

Sol  la  Sol  mi  Do  do  Do     Re  re 
What  you  want  to  do  or  sav,  Say  it, 


//*!// 


h  > 


;  ?  jv 


; 


Mi  mi 
do    it; 


CCf  lJt  "ICC 

Mi  mi 


Mi  fa  Mi  do    Mi  mi  Mi     Fa  fa 

Trifling  precious  time  away,  You  will  rue  it 


PR  A  C  'TIC A  L  DEPA  R  TMEN  T. 


119 


Exercise  98.     We  must  persevere.     Exercise  song  in  triple  measure,  commencing  with  the  upward 
heat.     First  and  second  ending. 

N      IS 


=£ 


i 


4- 


£e£ 


4- 


IM» 


2. 


1 


:8 


-g>- 


-g>- 


We    must      per  -    se  -  vere    In        stud  -  y,      Nev  -  er      tire        of     les*'-  sons    new ; 

Then  when  done     with  pres  -  out        du  -    ty,     We    may      oth   -   er  .        .        .       paths  pur  -  sue. 

Exercise  99.     Lo !  the  glorious  morn.     Introducing  middle  C,  the  same  added  line  which  begins 
this  lesson. 


£e£ 


^ 


I". 


1 2. 


nn 


tt£j± 


1 


Lo !     the    glo  -  rious  morn  is      breaking ;      See,  there  comes    a    brighter      sky ; 

All      the    na  -  tious  are      a  -  wak  -  ing,     Lib  -  er  -   ty's the    bat  -  tie         cry. 

Exercise  100.     Every  one  -who  will  succeed.     The   intervals  between  the  first  and  second  and 
fourth  and  fifth  lines  are  each  two  steps. 

I    J„   >   f  T*   »   ■    -■!    i 


m 


1 


i — r 


-&--* 


Just 


=i=fc 


Ev-ery    one  who  will  suc-ceed  Must  be    in    earn -est  and  give  heed.  He  must  be    in  earnest  and  give  heed. 


Lesson  IX. 

Exercise  101.     Here  by  this  clef.     Song  in  triple  measure.     The  treble  clef  placed  upon  the  staff. 
After  the  exercise  is  well  learned  sing  the  small  notes,  and  afterward  divide  the  class  and  sing  as  a  duet. 


-A— '-? 1 j- 


m 


3S 


I 


-J 1 


J- 


1 


r-rT-ri  ' 


i 


w w — ■ — w P 


-t- 


ft— f—ry 


Hereby   this  clef  show  the  pitch  for    the    fe-male  voice.  This  is     the  staff  for    the  girls  and  the    boys. 


120 


MUSIC  AT  SIGHT. 


Exercise  102.     Up  to  the  front.     Song  in  quadruple  measure.     Practice  the  exercise  until  it  can  be 
sung  by  syllables  and  words ;  next  practice  the  small  notes ;  afterward  sing  as  a  duet. 


BE^B 


=1 


iES 


-N V 


W i ~W ~M m 1 m~ & 1 » w m » ~2 "I W 1 1 1 

Up       to     the  front  there's  a         task     for      you ;       Quick  -  ly      at  -  tend  what  ye       find       to        do ; 


i 


m 


j- 


=ts= 


I 


^^E33 


zi — #- 


« 


rl-t—i  c    r  r 


t 


±=±L 


r  u  -       u  u  u  '    c  u    i     r 

Nev  -  er     put    otf     for      to     -     mor  -  row's  sun       Work  which  to  -  day  should  be       sure     -    ly        done. 


Exercise  103.     Gaily  in  triple  time.     Song.     May  be  sung  as  a  duet.     Triple  measure. 


-1  : 


=i= 


r  r  f  f  ■  r  f  f-   r  f-  f   r  r  f  f  ■ 


1  r  r  i  r  r 

Gai  -  ly      in       tri  -  pie   time    rnov-ing      a  -  long;  What  can   he       fair  -  er    than     ran  -  sic   and     song? 


i^mi 


J-r-^— m-\- 


\-r-\- 


t=t- 


ii      i      r 


-Sir- 


f-f:"-   i  ~  "f  t— r— F-^^r-f-r^-^ 


2=e- 


-l — "t 


-P — p-c© 


Sing-iug     in        cho    -    rus,    join  -  ing       in        glee,      Mak-ing    the    wel  -  kin  ring,  hap  -  py     are    we. 


PR  A  CTK'A  L  DEPA  R  TMENT. 


121 


Exercise  104.     Bob  is  our  dog.     Tenor  and  bass  clefs  placed  upon  the  staff. 
Tenor. 


mm 


t 


-0 — 0- 


_«_*_ 


1      I      I      l~^ 


t=t 


Bob  is  our  dog ;  he  has  a  house.  Iu  the  woodshed  he  must  stay ;  And  baby  comes  up  when  he  eats  Aud  pulls  his  bowl  aw  ly. 


Soprano. 


dp  4  i\j  .  »=g 

*        Mill 


J: 


I 


r  r  i  nr  r  I    i 


^— *— # — # 


,'- 1    I    i,  ^Fr-t-f 


I-  1 


j&-= 


g 0 0 f- 


\ 


t-r 


Alto. 
Bob  doesnot  growl  nor  bark  away,  For  he  likes  our  baby  Dan  ;  He  looks  at  him  as  if  to  say,  Just  as  you  please,  my  man. 

Bass. 


Mi 


4    4* 


tt 


BS 


-V—V- 


-0 — 0- 


±t=t 


4— L^— 1- 


ttct 


-0 — 0  ~  0 


I      I      !      /- 


mm$ 


And  baby  stirs  his  breakfast  up  With  the  cutest  little  stick,  Aud  then  he  puts  it  back  to  Bob,  Who  eats  it  very  quick. 


Exercise  105.     There's  never  a  day.     Four-part  song  written  on  two  staves.     Tenor  on  bass  clef. 


Soprano. 


bfcr* 


3=F 


4-4 


±=± 


«,    Alto. 


*-=f=r 


-^4> 


iwsztt 


#— p- 


I   I 


+-~r 


U-J- 


I    I 


-&—* 


0—0- 


V   V 


1/  I 


I   I 


There's  ne'er  a  day  so  sunny  But  a  little  cloud  appears ;  There's  ne'er  a  life  so  happy   But  has  its  time  of  tears. 
Be  true  to  every  duty  At  your  home,  at  school,  at  play;  By  faithful  work  and  study,  Learn  something  every  day. 


Tenor. 


i    l    I    i    I 

t-  .m-  -r-  .0.-0.-0. 


Bass. 


PF 


Se 


Z*=*=EZ^ 


^  i  i 

J     -|S>--        -<-    -#--»--•--#--#-    -*g-    -•-      0      -0-    -0-      0 


m 


_«_«_ 


=?= 


H — I 1" 


ss 


122 


MUSIC  AT  SIGHT. 


Lesson  X. 

Exercise  106.     The  treble  clef.     Song  of  the  letters  (pitch  names)  and  the  degrees  of  the  staff. 


Tenor. 


mm 


* 


The  tre-ble  clef  names  first  line  E;    The   second    line    is    G;    The  third  is      B,  the  fourth  line  D; 
Now  find  the  place  of  ev  -  ery  space  ;  First  F   and   sec-ond  A,     And  for   the  third  comes  C    a  -  pace  ; 
Soprano. 


The 
The 


^f>^ 


m 


The  bass  clef  has    the  first  line    G,      The  second      B      is  found  ;  The  third  is     D,   the  fourth  is     F.      For 

And  now  the  line  between  the  staves   Is     middle      C,  you  know  ;  The  space  a  -  bove  is    call-ed      D,     And 

Bass. 


ESSE 


S 


i 


=B 


m 


Chorus. 


q= 


m 


PP3^ 


fifth     is       F,    you  see.  Now  you  must  know,  'Tis  well  if    you     re-niem-ber  these, 

fourth  is      E      to  stay.  For      as     we  show,  They all     are  fixed  de  -  grees. 


$^ 


ZtSZ 


-J I- 


■* J — i — *-  -d j 


rr-1 


fifth  conies  A    a-round.  Now  you  must  know,  'Tis  well  if   you  re-mem-ber  these. 
B      the  space  be  -  low.    For    as    we  show,  They 


are   fixed  de  -  grees. 


PR  A  CTICA  L  DEPA  E  TMENT. 


123 


Exercise  107.     Three  Little  Chicks.     Four-part  song  in  sextuple  measure. 


133 


1.  Three   lit    -   tie  chicks     so      down    -     y      neat,     Went      out         in      search      of      things 

2.  One    chick    said,  That     be  -  longs        to      me :       Said       th'  oth  -  er    chick,  We'll        see, 


to       eat. 

we'll    see. 


LjjU-  i~T^ri    ^J_jtLi-J 


FV 1- 


3.  They  pulled  and  tugged,  the      down  •    y    things;    And 

4.  The      bat  -    tie   fierce    and      fierc    -    er    grew,       Un 


how 
til 


they  flapped  their      ba 
the    straw    broke  right  . 


by  wings ! 
in      two. 


^ 


m 


:-se*e 


5.  A         sau    -    cy    crow    who  watched  the   fight     Now      laughs,     haw !  haw !      it       serves    you  right. 


J-fr- 


w^^m 


3=3= 


I 


Ter    -   wit, 
Ter    -   wit, 


ter  -  weet ! 
ter  -  weet ! 


Some  -  thing   to     eat !     And      soon      they  found      a        straw      of  wheat. 
Its        nice    and  sweet !  Said     nuni  -  ber    three,    Let's    share      the  treat. 


i 


I 


3EE£ 


l±±A-i    3    U=U 


*t=* 


Ter 
The 


m 


wit, 
lit 


ter  -  weet ! 
tie    chicks 


Some  -  thing    to    eat !     Just    please       let       go        this       bit         of  wheat, 
were       in  a       fix,     And       sor     -     ry       for      their     naugh  -  ty  tricks. 


m 


^ 


He    snatched    the      prize 


be 


fore    their  eyes,     And     o'er        the      hill 


way        he    flies. 


124 


music  at  sight. 


Lesson  XI. 

Exercise  108.     Here  the  natural  pitch  proclaim.     Song  of  the  natural  key  in  quadruple  measure. 


=r- 


-4-r 


I 


4U 


g=g±^.- 


T 


■e — 
Here  the  natural  pitch  proclaim  For  each  degree 
Now  we  siug  in  the  model  scale  The  key   of     C 
-#-  -0-  -#-  -#-  -#-  -s>- 


• 


4—1- 


?=s 


--   -> 


m 


B 


While  the  letters  remain  the  same.  Xo  change  can  be 
For  can-  sig  -  na-ture's  natural,    As  you  may  see. 
-0-    -0-    -»-.    -   -»-  -0-  -0-  -0- 


1 — i- 


T" 


II 


Exercise  I09. 


See  the  Little  Sunbeam, 
in 


; 


4-g — i — % — ++* — l-Yj — I — g — 0-fi^-^fi — • — m — tPpi — g-Fg — j — * — rY^-. — 1 


1.  See     the     lit  -  tie  sunbeam  Darting  through  the  room,  Scatt'ring  all    the  darkness.  Lighting  up  its  gloom. 

2.  See     the     lit  -  tie  sunbeam  Bringing  warmth  and  glow  To  the  plants  and  Mowers,  Drooping  faint  and  low. 

3.  Let    me      he      a   sunbeam,  That  I     may  be  -  stow  Light  and  smiles  and  gladness  Everywhere   I    go. 


Chorus. 


:t 


\r^r 


m 


:t=: 


tie 


I 


— I g— 


iis 


I  would  be      a  sunbeam,  With  a     ray     to  greet,         Making    glad  and  hap  -  py  Eve  -  ry    one 


I   meet. 


m=£ 


9=jr 


=t: 


SigEfel 


PR  A  CTICA  L  DEP.  1 H  TMES  T. 


125 


Exercise  110.     The  Picnic  Pie.     Glee  and  chorus. 


m 


2 


3EJ 


1.  My   first      is 

2.  I       hide     on 

3.  My  whole   is 


t 


E2: 


flour  coni-bined  with  lard.  My  sec  -  ond  eggs  and  milk  : 
many  a  nios  -  sy  ground,  I  lurk  'neatk  tufts  of  grass ; 
quite,    a     stirred  up     mess,      A    sweet   eon  -  coc  -  tion     I; 

■*-       -0-  I 


a-f— -r^ — r     r     r-r     r     r     r— -i 1- 


Be  -  low  I'm  sometimes 
On  tempting    rus  -  tie 
But  what    I     am  you'll 


-I — 


i= 


-V 


Chorus. 


— 

f — c — 

rt — f — r— 

^ 

-N- 

— (s— 

2 

?•       v 

J         1 

1-v 

1      1 

{> 

R 

r 

■s        i        ^. 

*          m 

1     m 

T 

V 

M   • 

_H 

J 

K-\>          m 

*• 

\          *\ 

*          J 

J  .    1     8 

# 

9 

•   • 

m 

brown  and     hard, 
seats    I'm    found, 
nev  -  er      guess: 

#          J         m    . 

A  -  bove    I'm 

Where  men  and 

I      am      the 

m        m          m 

soft     as     silk.    ) 
maid  -  ens   pass.    )■     I    wait    my 
pic  -  nic    pie.    J 

prey 

with  pur 

pose 

-£- 

fell— 

The 

ri»V        P        *        P  • 

• 

m           m 

W           m 

»  ■ 

'a 

IS ' ^7 * 

+3 b h h — ■ 

1 

-f 

— f-^- 

— W- 

i 

1 

Hi— 

— *T- 

- 

-V 

7— 

—V 

9 

z 

1 

1/ 

1/ 

u 

b 

x> 

mim&mi&^msM* 


S^r  + 


youth  in  trous  -  ers  whit 

-r-  -r-  . 


He   sits    on     me;  there  comes  a       yell; 


fe^ 


,-r  r  r- 


if^r-^ 


My!   Ob,     but      he's      a    sight! 


■I 


S2h 


126 


MUSIC  AT  SIGHT. 


Lesson  XII. 

Exercise  III.     Oh,  Praise  the  Lord!     Classification  of  the  voices.     Soprano,  alto,  tenor,  bass. 
„  Soprano.  I 


:33= 


=4E?=g 


i 


mm 


s^ 


m 


1.  Oh,  praise       the      Lord 
Alto. 


In    child-hood's  hap  -  py  morn  -  ing  ! 


In        sweet 


ac  -  cord, 


With 


I; 


2.  In       joy 
Tenor. 


Z3r. 

fill      strain,      With  youth  -  fill   voic  -  es  blend  -  ing, 


w 


=F 


wm 


^ 


.<!— *" 


ffrf-4:  -I- 


=1= 


3=2=d= 


Our 

ft 


-lad 


re  -  frain 


To 


£ 


Bass. 


That  morn      shall      come       When  we,      from  death  a  -  wak  -  ing. 


Sur- round 


his  throne, 


q= 


Ft=t 


^=zyz 


^^^^ 


mm 


love  our   hearts     a  -  dorn   -  ins 


Oh.     praise 


HH 


the     Lord !        Praise    ye 


the      Lord. 


hcav 


^ 


m 


:=1 


T 


en      now       as  -  cend  -  ing. 


Oh,     praise 


the     Lord  ! 


* 


1= 


Hit 


ter    -     nal      bliss     par-tak    -    ing.         Oh,     praise 

# 


the     Lord  ! 


Iliii 


rt 


75*" 


Praise    ye 


5= 


Praise    ye 


PHI 


the       Lord. 


=5=  =2 


1 


the      Lord. 


mil 


PRACTICAL  DEPARTMENT. 


127 


Exercise  112.     Make  your  Mark.     Soprano  and  alto  on  one  staff,  tenor  and  bass  on  separate  staves. 


i 


Soprano. 


w: 


-L 


v=S- 


-s? — *z 


^ 1 1 <- 


(TV  j. -i- — J— -# m • 0 — *- 

«-     Alto.      ' 


'r-'rht ^ 


^ 


Alto. 

1.  In    the  quar-ries  should  you  toil,  Make  your  mark  ;    Do   you  delve  up  -  on   the     soil,  Make  your  mark. 
Tenor. 


1 


-s'-'V 


-* — v — * — i *— 

2.  Life   is    fleet-ing      as      a   shade,  Make  your  mark.  Marks  of  some  kiud  must  be  made.  Make  your  mark 
Bass. 


S3 


a 


m 


i 


45— \— *- 


id: 


? 


5=3= 


-#-=- 


1  Iu  what  -  ev-  er  path  you  go,  In  whatever  place  you  stand.  ' 
i  Moving  swift  or  moving  slow,  With  a  firm  and  steady  hand,  j 


Make  your  mark,  make  your  mark,  make  your  mark. 


a^« »    p    a~ 


I 


Zg.£ 


?=*r- 


V »■ + * H 


Make  it while  thearm  isstroug,  Iu  the  golden  hours  of  vouth  ;1  ,r  ,  ,         ,  ,         ,  , 

1  Never,  never  make  it  wrong,  Make  it  with  the  stamp  of  truth.  ,  Make  5"our  mark- make  ^our  mark- make  ^m  mark- 


N     N     >-^- 


-T—W—*—*- 


±s: 


128 


MUSIC  AT  SIGHT. 


Exercise  113.     Come  Away.     Soprano  and  alto  on  separate  staves.     Tenor  and  bass  together  on  the 
lower  staff. 


Soprano. 

#-4 

1 

— k — iv- 

— *r — \ — v — i— 

-•A K- 

— 1 

?1 

(mA    -a— ^" 

- 

— ^ — 

»    a 

=•    f 

~d^    d    * 

— j P— 

1— 

— 1— 

=*=f=F 

=±-J 

t5::4     p    J 

L  ' 

— — 



0       0 

*      0     • 

•        * 

1 — 0— 

— •— 

{  Come    a  -  way,    a-  way,  where  the     ro  -  sy   light   is    hreaking   O'er  the     hills    so    love-ly 
Where  the  sweet  young  buds  from  their  dew-y  sleep  are  waking.  Mirth  and  mu  -  sic  float     in 

(To     the     rus  -  tie  wild  where  the  balm  -  y  winds  are  blowing.  Where  the  fair  -  est  blos-soms 
To    the    mos  -  sy  banks  where  the  crys  -  tal  brook  is    fiow-ing,    We  will   crown  and  hon  -  or 

Alto. 


and  fair ; 
the  air. 
are  seen ; 
our  queen. 


11 


+■ 


=1= 


K—fc: 


3- 


q= 


'  — * 


„   fOh.     the     love-ly    May  like     a      child  has  come  to     meet  us.    With  her  brow  all   cov-ered 
|  And   the    wild  birds  too,  with  their  pret-ty  songs  will  greet  us,     And  the  laugh-ing  bright  su 


with  flowe 
n-ny     hou 


rs.j 


Tenor. 


E^: 


?£H 


Bass.^ 


r— r— r 


*Er$EE:*z=£EE*-^=EEE?EdEE£ 


i — i — r 


Chorus 

Is   h 

Repent  i 

07/  softly. 

.__-'      A 

j> 

i^    ^ 

h 

|k       ff-     1        ~| 

•  II 

A 

r       i '       I       »       -I 

J        ! 

J        ! 

*  ts 

*=  •    •II 

:--h   * 

J 

# 

»       m 

•      * 

c_t" 

4      4      0 

■II 

'       ™ 

/ 

l>  ' 

1         •  I' 

t. 
-4) 

Then  a  -way, 

a  -  way, 

a  -  way 

Then  a  -  way 

a  -  way, 

a  -  way, 

To 

the  hills 

and   the    fields    a    - 

way. 

7£ 

-A      -I 

r\ f 

-ft 

— K h" 

">      -1 

— (\ 

=* 

~ p — p — 1 — 1 — 

=q — t  J 

frr 

..  •  -s,  -M__P 

T       i 

a 

VM 

■    i   J    - 

e       * 

4 

•       w 

•       e 

• 

~i 

»       *       *       e 

c 

-9-    ' 

Then  a  - 

vay, 

-»- 
1— 

a  -  way, 

-e-    ■#- 

-i 1 — 

t    I— 

a  -  way, 

Then  a  - 

way, 

a  -  way, 

-t   -fr 

-* — »— 

a  -  way, 

.0.     .0. 

— i 1 — 

— # •- 

To 

— 0- 
— 0- 

the 

i 

rills 

1 

ph 

and   the    fields    a    - 

.0-     -0-     -0-     .#- 
p       Ir      l»      # 

way. 

-  :  p-  f- 
lr-tr 

_«__ 
V 

rfc-r 

l» — u 

V 

-v — v- 

f        1- 

? 

—v- 

i 

I  — U    L    I— 

Er  ^ 

PR  A  CTICA  L  BE  PA  R  T.VEXT. 


129 


Exercise  114. 
Soprano. 


:S=£ 


Little  Things 


Soprano  and  alto  on  the  upper  staff;  tenor  and  bass  on  the  lower. 


- 


■+- 


Altor  '*-']/  -a-  L,  ^ 

1.  If  lit  -  tie,  fall  -  in^      drops   of  rain    The    lakes  and    riv-ers      till,  And 

2.  If  lit  -  tie  mo-ments,  as  they  pass.  Make  hours,  and  days,  and  rears,  Then 
:i.  The  lit  -  tie-  sins,  when  onee  al-lowed,  To  great  -  or  sins  will  grow,  And, 
4.  Great  God,  then  fill  each      of     our  hearts  With    love  aud  fear    of      thee:  And 

Tenor.  _^_  ^  _._     _^_  _^_  ___  [\ 


gEsmiis 


lit 
lit 
if 
to 


tie  grains  of 
tie    sins    of 
not  stopped  by 
us      all    thy 


m 


:t 


-£ 


p 


:t 


-V      1/      1/ 


-h 


^EEEF;b^_i    rq 


£=£ 


Bass. 


& 


CHORI'f 


earth  and 
ev1   -  r> 

grace    di  - 
spir  -    it 


0     '    a 


i 1-" 


sand 
kind 
vine, 
give, 


U  V 

Make  moun-tain,  plain  and  hill ; 
Should  till  our  hearts  with  fears. 
Will  lead  to  end  -  less  woe. 
That     we       may     ho    -    ly        be. 


If 


J= 


±Z 


lit  -  tie  things   to      great  -  er   grow. 


3^Z- 


Lord. 


=t=l= 


i; 


=fc=r= 


help     us    then     to      strive 

-B--       -0-      -0-         -0-         -m-' 


That     lit  -    tie 


hah 


its    wil 


a       a       a      m       \—a 'p^ *~<a~ '' 


V  V 

not   mar    Nor    wreck  the  vouthfnl  life. 


E^^EE^Iilfl 


130 


MUSIC  AT  SIGHT. 


Lesson  XIII. 

Arrangement  of  Harmony.    Showing  the  usual  arrangement  tor  both  voice  and  instrument  in  each  score. 
Exercise  115.     Here  arrange  our  harmony.    Four-part  harmony  as  usually  arranged  on  two  staves. 


Soprano. 

| 

ii 

ji    ~r             .... 

-1 \- 

-ai — 

— ai zA~ 

— 1 1- 

— 

-1- 

— i 

i 1  H — d — — 

H -1-1 

W-4  -  -j 

* — 

— •— i 

• 

*        ^ 

-al — ar- 

— -+- 

— I 

H   hi i      #      ah 

-d — d H 

l.     Alto.-a- 

1.  Here 

2.  Ev  - 
3   Man 

Tenor. 

-a 

i 

ai 
er 

-y 

-  range 

T    pleas 

years 

i 

our   har  - 
aut   mel 
and  man 

c"     '  •      m 

mo  -  ny      As     in 
■   o    -   dy    Used  on 
-  v     days  May  bring 

-a-     ^      '1        | 
— i ' r~d *- 

gen'-  ral  use  you'll  see  :  Two  and  three  staves,  and  in  four, 
land    or   o'er   the   sea,  What- so -e'er   the  author's  name, 
chang-es  in  their  place  ;  Like  it  was    in   days  gone  by, 

(W.4     j 

t 

-• — 
— i — 

— m l-F w- 

— t b~H 1- 

i* — ?'h"  r  a  H*  f 

■r p_ 

1 1 

-»— 

-*-£=! 

5-z-4     * 

* 

|- 

1 F2— |— 1 1 

f      (-P b — f2  Ff     !■ — 

1 

f — r 

Bass. 

1 

1 

1 

1 

1         1        1 

1 

I 


fb* 


In    -    stru-  ment 
Earn  -  ing    for 


and  vo  -   cal 

the  nias  -  ter 


T5" 


score 
fame. 


EB^ 


^g 


i- r 


i 


Sons 
It 


cho  -  rus   you  may  meet,  Sin  -  gle  parts  and   all    com-plcte. 
well  vou'll  note  the  rule  Known  by  all,  of    ev  -   erv  school. 


So     'twill      be     when  you  and        I     Pass   the    bor  -  der     to    our   rest.  Change  may  come,  and  for  the  best. 


I 


82= - 


J-J J= 


-i 


:t=rt:*=* 


e£e 


'  ' 


Exercise  116. 
Soprano. 

3E 


1 — h 

Three  parts  ■written  in  a  brace. 


t=_t 


-12- 


J J J 


!       I 


I 


mm 


— =N- 


s 


3= 


— I— 

-If— 


-e-      ' 


Three-part  harmony  written  on  two  staves. 
,_,  0  End  %oith  the  first  part. 


D.C. 


ife£ 


-h 


i 


Alto.  -*- 

Three  parts  written     in  this  brace,  Tre  -  ble,    al  -to    and   the   bass,  f  Girls  and  boys,  now  try     to    sing    I 

d.  c.   List  -  en    who  will  sing  the  best ;  Boys  the  bass  and  girls  the  rest,  i  Ev  -  cry    note,  and  make  it    ring.  J 

Bass.  k  ~0-  ^v     /rv 


^8= 


-*- 


=tz 


-h 


mWm^m^mM 


PRACTICAL  DEPARTMENT. 


131 


Exercise  117.     I  am  Resolved.     Four-part  harmony  as  usually  arranged  on  a  score  of  three  staves 
Tenor 


4— 4 — I- 


4— 4— 4- 


|2. 


S 


[Hi 


i    I         am     resolved  the    world    to    see,  And  sail    on     ev-  ery    o  -  cean ; 

I  The    man  who  would  not    rest    at  home  Must 

If.    here      I      stay      I      may    be   told   The  world  is   board-ed      o  -    ver;  j 


keep    himself    in       mo-tion. 


%     ( That    tea      is    raised    on      timber  stems,  Be- 
Soprano. 


^=& 


j  ueatli    a      shingled   cov-er; 

-I — I — \- 


aili.3 «-5-'-# 0 1 ' « 0 •— •-• = • -+-  <-& m\— 

tT Aito.-*-"  ■*■  -&-    -f- 

„   f  So      here     I   seize  my  wand'rer's  staff.  My  well-packed  knapsack  bearing,  ] 

'(And    wan-der  forth   up      hill  and  down,  On 
Bass. 


4-r--i 


m 


j    all  things  hrief-ly    star  -ing 


nne 


=t 


1 


lEEll 


*=E 


4 1 -J- 


-¥-- 


I 


i 


'Tis      worth  some   trou  -  hie      but        to     know  What  things      be    -    hind      the      mouu  -  tains     grow. 
And      root  -  ed       here      I        ne'er     can  know      If      tales      like       these      are        false  or        true. 


a 


r-J 1- 

* «- 


J^Ed 


-s>- 


q: 


m 


M: 


And     when       I        all      the    world  have    seen,    I'll      turn       my        foot  -  steps     back 


I 


132 


MUSIC  AT  SIGHT. 


Exercise  118.     Why,  oh !  why,  my  Heart,  this  Sadness?     Three-part  harmony  written  on  three 


stave; 


Soprano 

■-4=1= 


4=] (V---A — \=^£ f^-p=£»i— , 


3S 


*— *— J— 


-•—+- 


1.  Why,  oh  !  why,  my  heart,  this  sadness?    Why  'mid  scenes  like  these  decline,  Where  all  should  be  hut  joy  and 

Alto. 


— ^i-t-s}— 


2.  All    that's  dear    to     me     is       wanting — Lone    and  cheer-less  her*1    I   roam;  The  joys  I  meet,  how-e'er  en- 

3.  Give     me  joys    of  home,  none    oth  -  er ;  These  shall  bless  niy  humble  dome.  Where  dwell  my  father  and  my 


Bass. 


3==-& 


\s  5--S- 


-!v-l- 


-SU-S*- 


lladncss?       Say,  what  wish  can    now   be      thine 


chanting 
mother. 


^        -si-. 
e?  Oh, 


say.  what  wish  can  now   be     thine? 


> Is—  "^ 


_| l: a, =. . 


II 


Ne'er  can  they  re -place  my    home; 
Give,    0    give   me   back  my    home. 


No,       ne'er    can    they    re-place    my    home. 
.My        own,    my   dear,  my   na-tive   home! 


m^^ms^^m^-^^^j^m 


PR  A  CTICA  L  DEPA  R  TMEST. 


133 


Exercise  119.     Trust  in  God.     Four-part  harmony  written  on  a  score  of  four  staves. 
Tenor. 


tUt3— 5=sp — q S — jfg ;^ — M— I —  1       n      n|  =M-H     >      ^1    I         I  — ^ — H-& H 

-^h  } — h — &  _H ' — J~ — ' ' ' ' ' L  it-'"  3^ r-  — i  i —     i      -i-  ^       ;  I 


,    i  Broth-er,  in    this    bu  -  sy    life,  Midst  its  cares,  its  toil  and  strife,  )  Cour-age,  broth- er,       do     not  fail,  1 
'  i  Keep  in  view  you   bea-con  light,  Trusfin  God  and   du    the  right,  i  Truth  and  hon  -  or     must  pre-vail.  J 
Alto. 


i- 


— N- 


h± —      — x 


=F^= 


r^' 


P^^ 


„  '  Should  thy  way  be  long  and  drear.  Foot  it  brave-lv.  do  not  fear ;  ]  Cour  -  age,  broth-  er,  do  not  fail,  • 
i  Though  its  end  be  out  of  sight.  Trust  in  God  and  do  the  right.  J  Truth  and  hon  -  or  must  pre-vail.  J 
Soprano.       |         j         P       y 


ii; 


N 


±=*z 


4- 


rrSr-fr: 


3= 


4- 


-• — •- 


m 


.,    |  Should  the  tempter's  darts  assail,  O'er  his  power  thou  must  prevail ;  1  Cour-age,  brother.       do     not     fail,  1 

'  i  If    the  world's  dark  frowns  affright,  Trust  in  God  and  do  the  right,    i  Truth  and  hon-or     must  pre  -  vail,  i 

Bass. 


3: 


_> 


m 


1 — r 


1 


*ri-tr=t 


=fc 


D.c.  Though  thy  path  be  dark  as  night,  Trust  in  God  and  do  the  right. 


Exercise  120.     Where's  our  Little  Francis  ?     Duet  written  on  a  single  staff. 
Soprano. 


!To      TS R r . 

"j — r — 

— V- 

,    i 

*        J 

: 

"s      r      ! 

• 

d 

v  >  ■+     5      5      *      • 

• 

m 

a       m 

•      0      s      # 

#      2 

C,       AltoT 

Where's  our     lit    -   tie      Fran-eis 

,0                                   V 

gone? 

See 

if 

he's  with   Eov 

h         k. 

m 
-r 

er. 

Look  down  at    the    riv  ■  er    side; 

Y            \.           i             N           ^ 

^ 

> 

\ 

k.                                    s 

fix — F* — * — P — 

— * £ e- 

— p — 

t r 

S 

' 

— h N \ p 

-A     -e-^-J 

(r> — • 5 3 *— 

•               *       • 

5_         a 

%- 

0 

« 

ft 

I 

— m- 

s 

ts-^r- —*-. 

-h — • H 

Or      per  -  haps    he's      off       to       hide,  Play  -  ing  pranks    in  boy-  ish  pride,  Romping  in    the  clo-ver. 


134 


MUSIC  AT  SIGHT. 


Exercise  121.     Falling-  Leaves.      Solo  and  instrumental  accompaniment. 

I  I  I  I  I | 


3 


3 


3=E 


'J- 


-4—* — 

I 

1.  They 

2.  They 

3.  They 


are 
are 
are 
-»- 


-%^ 


s>- 


■f- 


-f2- 


fall 
fall 
fall 

— I— 


mg 

-*- 


slow 

sad 

they 


ly 

iy 

are 


fall 
fall 


Thick 
Close 
While 


up  -    on 
be  -  side 
our     sad 

±L |_ 


the         for  - 
our  cot  - 

dened  thougl 


est 
tage 
its  still 


r 


side, 

door, 

gu 


3-=*=? 


i: 


j=j=± 


jj^- 


tj^= 


f= 


=wt 


3 


m 


-&- 


Sev 

Pale 

To 


ered 
and 

the 


from 
fad 
sun 


the 
ed 


no     ■ 
like 
days 


ble 

the 
of 


r 


r 


branch  -  es  Where  they  "waved  in 
loved  ones  That  have  gone  for 
child  -  hood       In         the      dream  -  y 


beau  - 
ev 
long 


'. 


d 


EEEE 


pride, 
more. 

go; 


=3F 


^ 


■p 


3=t 


They 
They 
And 


are 
are 
their 


^=4 


fall 
fall 
fad 


& 


r 


3tr^ 


and 
hues 


the 

the 


-5 


val  ■ 
sun  - 
mind 

J 


=T 


leys    Where 

beams  Shine 

us         Of 


the 


the 


T 


ear 
beau 
blight 

-J- 


iy 
ty 
ed 


-\    ^ 
vio  - 
soft 
hopes 

I 


let 


spring, 
-  round  ; 
d  dreams 


-» — 


i 


PRACTICAL  DEPARTMENT. 


135 


i 


i&z- 


I 


t^ 


3&z 


T 


And 

the 

birds 

Yet 

the 

fad 

Fad 

-     ed 

like 

ed 


sun    -    ny 
leaves     are 


spring-time      First      their 
fall    -   nig,       Fall   -   ing 


the       fall    -    ing       leaf   -   lets       Cast 


up 


dul    -    cet        mu  -   sic       sing, 
on         the        gras  -  sy      hiound. 
on  the  i     -     cv      streams. 


m 


* 


^m 


m 


?y^» 


-zi— 


+  -*  =  +  <"  I  ■*■       | 

TT 

Exercise  122.     Band  "Words  can  Never  Die.     Duet  and  instrumental  accompaniment. 

_J s,^ N I s    _*_    _  K 


i=i 


*    V-    4 


1.  Kind  words  can  never  die.  Cher-  ished  and  blest:       God  knows  how  deep  they  lie  Stored      in  the  breast, 

2.  Bright  things  can  never  die.  E'en  though  they  fade  :  Beau  -    ty  and  minstrelsy       Death  -  less  were  made. 

3.  Childhood  can  never  die;    Wrecks  of  the  past  Float      in    the  mem-o  -  ry     Bright      to    the  last. 


ife 


_#_#_ 


w=^w 


H = # 1 1 j- 

*"■    LJ    y* 


i 


^EsEB 


Like  childhood's  simple  rhymes  Said  o'er  a  thousand  times;  Aye,  in  all  years  and  climes,  Dis  -  taut    and  near. 

What  tho'  the  summer's  day       Pass  -  es    at  eve   a-way, —  Doth  not  the  moon's  soft  ray   Sil  -  ver      the  night  ? 

Man     -    y    a     hap-py  thing,     Man   -  y     a    dai-sy  spring,  Float  o'er  time's  ceaseless  wing  Far,  far     a  -  way. 


I 


—    — 


rjT    -  Cj  -'  0 


136 


MUSIC  AT  SIGHT. 


Lessons  XIV  and  XV. 

Exercise  123.     "When  dots  across  the  staff  are  placed.     Sons;  of  Lessons  XIV  and  XV. 


9-?; r- 

r~iN 

-JM*          s 

I — N — *^ — 

\ rr- 

r      r    _T    J 

r  J-i 

r     .     -T 

r 

-fc   -. 

/ 

s  =ii 

— J— 

5=^-^- 

— 1- 12 

~ * — al — a 

-H— 

a — 

« h — al n — 

=$r 

=* 

-af        5- 

-h 

==4H 

% 

£4— =J— 

-  J 

0     g     9 

0      0       0      9 

0 0 a       0 

-  «— 

*» 

* 1— 

— »— 

'   d 

( 

1.  When  riots 

2.  A           tie 

3.  Da         Ca  - 

4.  And      Co  - 

a  -  evoss  the 
is      al  -  ways 
po    tells    us 
da      is      the 

-#- 

staff  are  placed,  We  must   re  -  peat  the  strain  ; 
un  -  der-stood    To      be     the  same    as       one. 
to      re  -  turn   To   where  we   first  be    -    sun  : 
add  -  ed     end  ;  It    conies  the    ve  -  rv       last ; 

'f~   "f~   T   ~f~     f   f   f  f,    »• 

p 
Then 

And 

We'll 

It 

a 

we'll     re  - 

to        di   - 

sing    from 

nev  -    er 

-»-      -a- 

turn 
vide 
the 

can 

-0- 

with- 
the 
he- 
he 
-» 

/«y  o       '    \   * 

m       m 

5 

--£    h— -P — P— ht-   t— *    t-F  r 

—h — 

, 1 1 

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F 

^ 

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-F F F — 

-f — f — v — t^ — 1 — 1* — P — b — P— 1 

— V — 

— P 1* — 

f 

b— : 

1/ 

1/ 

V    u    b 

V      V      '       V 

V-   P- 

V. 

eS^ 


^=d= 


a 


-A 


=1- 


T 


Mi 


out    de  -  lay  And    sing      it  o'er 

u  -  ni  -  oti  Ought  nev  -  er  to 

gin  -  ning  Till  at        Fi    -    ne  we 

used  un  -  til   The    vers  -  es  all 

■t       f-  + 


a 

be 
are 
are 


gam. 
done, 
done, 
past : 


9 

Our  first      and      see  -  end     end    •  ing    here      In- 

The  pause     de  -  mands  that     we    should   hold,    Pro- 

Now  at       Dal      Seg  -  no      here     we    learn    What 

And  svn    -    eo    -  pa  -    tiou    makes    a    change    Of 

-0-       -0-       -0-       -0- 

t 


-t=F=t—  F-F F- 


mm 


-&- 


mm 


i 


^ 


P=A- 


=8* 


forms  us  what    to        do  : 
long,  or  slight  -  ly     dwell, 
ev  -  ery  one  should  know  : 
ac  -    cent  vast  in  -  deed. 

I 


:F=FF::^z::=at=ir=*:: 


-0- 


m 


When    we       re  -  peat      we   skip  o'er      one,    And  pass  right    on      to     two. 

So      pay       at  -  ten  -  tion     to  this     rule.    And  rhythm  and  rime  as  well. 

Con  -  tin  -  ue    where    the    sign  is      placed.  And    end    at     Fi    -    ne     too. 

And    now     our    sons;      is      fin  -  ished    And    these  les  -  sons   we     will  heed. 


PRACTICAL  DEPARTMENT. 


137 


Lessons  XVI,  XVII  and  XVIII. 

Exercise  124.     My  Country,  Tis  of  Thee.     National  song. 
—  Tenor.  i         . 


SI 


=3= 


m 


X 


1 — I- 


zt 


— 


c 


1,  My    country,  'tis  of  thee,  Sweet  land  of  lib  -  er  -  ty,  Of  thee    I    sing —    Land  where    my       fa-  thers  died, 

2.  My     na-tive  country,  thee,  Laud  of  the  no-ble  free,  Thy  name  I   love.  I        love     thy     rocks  and  rills, 
„  Soprano. 


4 


-4- 


T 


^3: 


-F 


-2- 


-^~ 


T 


C       Alto."        "  I 

3.  Let  music  swell  the  breeze,  And  ring  from  all  the  trees  Sweet  freedom's  song ;  Let  mor  -  tal  tongues  a  -  wake  ; 

4.  Our      fa  thers'  God,  to  thee,  Au-thor  of  lib  -  er  -  ty,  To  thee   we    sing.       Long  may    our   land     be  bright 
Bass.  -*- 


\M 


E 


t± 


± 


^ 


-#— =~ 


P=i= 


Land 
Thv 


of       the     pil-grim's  pride,  From    ev'      -      ry 
woods    and     tern  -  pled  hills ;  My      heart     with 


moun  -  tain    side        Let     free 
rap  -     ture  thrills      Like  that 


dom 


i 


."^ 


ring. 

bove. 


I 


Let 
With 


all      that  breathe  par-take  ;  Let 
free  -  dom's  ho    -    ly   light . !  Pro 


^F 


rocks    their 
tect      us 


si  -     lence  break, —  The   sound 
by       thy     might.     Great  God, 


Kins 


1 


138 


MUSIC  AT  SIGHT. 


Exercise  125.     Lightly  Row.     Soprano  and  alto  on  separate  staves ;  tenor  and  bass  together. 
Soprano. 


-s-*- 


£E 


■Fb^*— -F*^3^ F/ — t/ — i — Fv — b— t-F     E±f*       ^   i/  Ti    H 


1.  Lightly  row  !  Lightly  row  !  O'er  the  glassy  waves  we  go  ;  Smoothly  glide,  smoothly  glide,  On  the  silent  tide. 
.Alto. 


-£-i- —i 1- 


J=£E^*E^gg^ 


BfeE33feg 


-A~°z 


2.  Far     a  -  way,  far     a  -  way,  Eeh-o       in    the  rocks  at      play  Call-eth  not,  call-eth  not.  To  this  lonely  spot. 

3.  Lightly  row !  Lightly  row  !  O'er  the  glassy  waves  we  go ;  Smoothly  glide,  smoothly  glide,  On  the  silent  tide. 


Tenor 


-«.  .0-    -m.    -*. 


2=f— £ 


t=--t 


Bass. 


-I— "-■ 


t=fcdfc=i=£=t=rt 


■^— p- 


*=P- 


-y— y 


HI 


I* 


r 


mm 


f;tv — * — L=t- 


«     !,     V— V 


t-t 


I 


Let  the  winds  and  wa  -  ters   be  Mingled  with  our  niel-  o-dv  ;  Sing  and  float,  sing  and  float.  In  our  little  boat. 


Efi m — a — 9 — t-FJ — •=»+* — * — * — «-F* — *—  —^—*—0-fg-^—g+'—*—^—^+^z::L-:n 


On  -  ly  with    the  sea-bird's  note  Shall  our  dying   music  float.  Lightly  row  !  Lightly  row  !  Echo's  voice  is  low. 
Let  the  winds  and  wa  -  ters  be  Mingled  with  our  mel  -  o  -  dy  ;  Sing  and  float,  sing  and  float,  In  our  little  boat. 


.a.     .«.    -*. 


t=t 


Lv — y — r 


:imz t »~  JtF 

-H 1 > 1 — 


■i       t 


It=t 


y    v    |  - 


S=,U 


V — k< — l 1 — 

y—y- 


1 


PRACTICAL  DEPARTMENT. 


139 


Exercise  126.     Canst  thou  Tell 

Repeat. 

n 

s 

P* 

| 

h 

i         r* 

h          N 

/b3 r 

— N 

-f" 

~t 

— j 

^ 

0 

N- 

1 — 

-i=i- 

* 

-J- 

-*^=a 

1 « 

— H 

^-4—^- 

•f 

-*- 

0 

-  * 

m 

F 

0 
— • — 

t-f- 

-4- 

• 

a- 

-=t^T- 

-«r— 5~ 

g    M 

i.. 

Canst 

thou 

tell 

how 

man  - 

V 

stars 

are 

1 

von  - 

der 

In 

the 

blue      and 

won-drous 

skv  ?   1 

Canst 

thou 

tell 

how 

man  - 

T 

clouds 

do 

wan  - 

der 

O'er 

the 

can    -     o    - 

pr       on 

high?  1 

Canst 

thou 

tell 

how 

man  - 

V 

gnats 

are 

sport  - 

ing 

In 

the 

sun  s     warm 

sum  -  mer 

glow?  ] 

2 

Canst 

thou 

tell 

the 

man  - 

V 

mm  - 

nows 

dart  - 

ing 

Where  the 

rip  -  pi  ing 

ws   -  ters 

flow?  J 

3.- 

Canst 

thou 

tell 

how 

man  - 

chil  - 

dren 

dai  - 

lv 

Wake 

re  - 

freshed   by 

sweet  -  est 

rest?  | 

Canst 

thou 

tell 

how 

man  - 

V 

birds 

so 

gay 

lv 

Lift 

in    praise     their 

grate  -  ful 

breast  ?  J 

h 

» 

-0- 

f- 

-0- 

-t 

-#- 

-0- 

4  J. 

-#- 

-0- 

-&- 

(&•—£ 

sr 

L 

1 

f. 

5 

P    •        F 

~^\ 

f— 

— i 

— 1 

P- 

— I 

H 

P 

— i 1 

r        r 

i           i 

s^-iH 

—v— 

V 

V 

V 

-v- 

— -fcr" 

— F — 

-  1 

1— 

F 

— v— 

_p_i — f— 

— F F — 

— I — H 

1/ 

1         '• 

L<         1/ 

j 

TORUS 
• 

— k- 

— 1 — 

» 

-1 

r-    -J 

*1    1 

-& 
-* 

=fc: 

=PB1I 

-! 

~1 ir" 

^5 — 4=1 

• 

God, 

— • 

m 
a 

the 

-0- 

— I 

* 

Lord, 

-#- 

— r 

: 

he 

-0- 

has    them 

-»- 
a ! 

1 

count-  ed, 

i 

• 

And 

— # — 

* 
• 

with 

-#- 
L    l 

%   % 

watch 

-0- 
-i 

s — 

ful 

■#- 
-1 

care     sur 

-0- 
-« ! — 

— p- 
1 

-   rou 

-#- 

1 — 

=F_J_3 

ad  -  ed ; 

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I-       F 

— i 

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r      t 

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f— - 

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i/   i  r 

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1 

^              1 —    1 

1 

1 

\t         1/ 

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J     ,                         .                   N 

| 

11 

T-^— 

n'v 

[^ — 

0             H       U*             *- 

m 

m  ' 

• — 

n           « 

SS W 

fcL 

i — 

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• 

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— » ^ 75— 

0 

m 

■j  ■ 

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d ' — 

— 

He 

#— 

»— 

be    - 

-»- 

— i 

r 

holds 

■0- 
— m — 

and 

-»- 
- 

f 

knows  them 

1 

all, 

He 

be  - 

— 0 — 
— a — 

holds 

and 
— f- 

knows   them 

all. 

«-9 — 

■    V 

— b1- 

-I — 

+" 

fc= 

c 

H— 

V 

■    V 

F   " 

F 

— tr- 

4 

4 

-F — HI 

140 


MUSIC  AT  SIGET. 


Exercise  127 


Columbia,  the  Gem  of  the  Ocean. 


=1= 


m 


ss 


Ci>      lnm  -  bia,  the  gem     of 
When  war  winged  itswidedes 

Ye      sons    of    Co  -  luin  -  bia. 


-=!—£- 


* 


the  o  -  eean, 
-  o  -  la  -  tiim, 
come  hith-er 


I 


1 


-3— S~ 


I  I 

The  home  of  the  brave  and  the 
And  threatened  the  land  to  de 
And  join  in     our  songs  with  de 


free, 
form 
light 


^—v 


:£ 


zlzzT*: 


w 


m 


t=t 


shrine   of    each    pa  -  triot's  de  -  vo  -  tion, 
ark    then    of    free-dom's  foun-da  -  tion, 
wreaths  they  have  won  nev-  er  with  -  er, 


B£*-izEj=: 


A 

Co     - 

May  the 


world  of  - 
linn  -  bia, 
star     of 


fere 

rode 
their 


r-ff*- 


t 


t£. 


— N- 


P 


horn- age    to   thee.  Thy 

safe  through  the  storm,  With  her 
alo  -   ry     be   bright!       May  the 

J    >  r 


-S— P- 


I 


^s-»- 


:fl± 


-« — 


-P 


H- 


man  -  dates  make  he 
gar  -  lands  of  vie 
ser    -  vice       u  -  ni 


*       1/        I 
-  roes   as  -  sem  -  hie, 
Try      a  -  round  her, 
ted  ne'er  sev    -    er, 


m 


-£-^- 


•  *- 


&- 


When  lih  -  er  -  ty's  form 
When  so  proud-ly  she  bore 
But        they      to    their    col  - 


stands  in  view ; 
her  brave  crew, 
oi's   prove  true  ; 


-*=t=Y 


Thy 
With  her 
The 


PR  A  OTIC  A  L  DEPA  R  TMENT. 


141 


i 


h    h 


A — =1= 


$r 


-*-J- 


f    i 


3a: 


-*— #- 


- — r 


f=T 


ban  -  ners  make  ty    - 
flag  proud  -  ly     float 

ar     -    my   and    na    - 


ran  -  ny  trem  -  ble, 
ing  be  -  fore  her, 
vy      for      ev   -    er, 


When      borne     by    the     red.  white  and   blue.         When 

The         boast      of    the     red,  white  and    blue,         The 

Three      cheers  for    the     red,  white  and    blue,         Three 


SS_*. m m • * * ■_ 

1 i h h h h h- 


=?- 


M 


t=^fr 


E^E 


[)**  If      l 

K,         s         | 

1      * 

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) »— 

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0 

— 9 — 

—0— 

—0 0- 

— 0 

borne 
boast 
cheers 

-#- 

by    the    red, 
of    the    red, 
for    the    red, 
-0-     -0-     -0- 

white  and 

white  and 

white  and 

-*-     -*- 

blue, 

bine, 
blue, 
-*-  • 

When 

The 

Three 

-#- 

borne 
boast 
cheers 

-0- 

by 

of 
for 

-0- 

the   red, 
the   red, 
the   red. 

white  and 
white  and 
white  and 

-0-     -0- 

blue, 

bine, 

blue, 

-&■ 

Thy 

With  her 

The 

-0- 
-0-  — 

(m 

1-*  7- 

1 

i         1 

*     * 

K 

J*,*        « 

a       0  -     * 

m        » 

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f     * 

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V V — 

— (SZ— = 1 

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— V V — ' 

L-tz J 

$ 


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-*—*- 


W: 


ban 
flag 


It 


-&- 


"* S- 


ners  make  ty  -  ran  -  ny  trem  -  ble, 
proud-ly  float  -  ing  be  -  fore  her, 
my   and     na    -    vy      for        ev    -    er, 


±=t 


I  I 

When  borne 

The  boast 

Three  cheers 


bv  the 
of  the 
for  the 


n 


Ted, 
red, 
red, 


J=t 


—» — •— 
I 

rhite  and 
phite  and 
vhite    and 


:£= 


blue, 
blue, 
blue. 


mm 


142 


MUSIC  AT  SIGHT. 


Exercise  128.     The  Star-Spaneled  Banner. 


& 


-zi~ 


by  the  dawn's  ear  -  ly  light.  What  so  proud  -  ly  we 
thro'  the  mists  of  the  deep,  Where  the  foe's  haugh  -  ty 
who   so     vaunt  -  ing  -  ly      swore      That  the      hav  -  oc        of 

er,  when  free  -  men   shall   stand         Be    -     tween  their  loved 

I         in      rSm 
|      »  -*- 


zti-i- 


-©■- 


t 


S 


f-b- 


hailed  at 
host  i  a 
war,  and 
home     and 


the 

dead 

the 

the 


twi  -  light's  last    gleam-ing; 

si  -   lence      re   -  pos  -   es, 

hat   -  tie's    eon    -    fu  -  sion, 

war's   des   -   o    -     la  -   tion ! 


r^ 


m 


.; 


:4 


-+■ 


— 


Ft 


What  is 
A 
Blest  with 

— d &►- 


stripes    and  hright    stars, 

that    which  the      breeze, 

home       and  a          conn 

vie    -    fry  and        peace, 


through  the 

o'er         the 
try     should 
may        the 


zfr^z 


± 


3*EESE 


rV 


^T 


Trf- 


>. 


per  -  i  -  Ions  fi^ht, 
tow  -  er  -  ing  steep, 
leave  us  no  more? 
heav'n-res  -  cued   land 


-Jzz 


O'er  the 
As  it 
Their 

Praise  the 


^B 


=£ 


ram  -  parts   we      watched,  were  so       gal  -  lant  -  ly  stream  -  ing? 

fit     -     ful  -  ly        blows,    half  con  -  ceals,    half     dis  -  elos    -    es? 

blood      has    washed    out    their  foul      foot  -  step's    pol  -    hi    -    tion. 

Power   that    hath     made    and   pre  -  served   us        a        na    -    tion ! 

_F   f  r.f: — * 

-v — I — Ff= h 


I 


PR  A  CTICA  L  DEPA  R  TMENT. 


143 


^ 

- — . 

N 

) 

V  \  v 

»    •     ^» 

a 

* 

»     'i 

<2 

*  •    » 

Ark  - 

*    '       * 

-t 

-1 

f 

* — i— 

* 

» 

— • — 

— 12 

• 

— • 

m- 

— fi V, 

-\ — 

— i — 

— | — 

— 1 

— * — 

— * — 

— t 

"" 1 

— i — 

+- 

—S-- 

<J 

And     the 

rock 

1 
et's 

red 

glare, 

the  bombs  burst 

1 
■  ing 

in 

air. 

1/       s- 

Gave 

1 
proo 

F  throiu 

h  the 

Now      it 

catch 

-  es 

the 

pleam 

of      the    morn 

ings 

first 

beam. 

In     full 

glo 

-    r.v 

re- 

No 

ref  - 

uge 

could 

save 

the            hire  - 

ling 

and 

slave 

From   the 

ter 

-     ror 

of 

Then 

con  - 

quer 

we 

must, 

when  our    cause 

it 

is 

just, 

And 

this 

be 

our 

~s~  •   ~w~ 

-*- 
m 

T 

-jg- 

_e_ 

-*- 

■F 

-»-'^~~:#- 

| 

* 

d»V  h 

I"-'!    " 

I           1           1 

1                   !/'          K* 

I'         \ 

>^h 

1          1          1 

i»      / 

m 


-0 — i — i- 
-3— Jh* 


=± 


S 


night     that  our      flag      was     still  there, 

fleet    -    ed,  now  shines   on      the  stream  : 

flight,     or    the  gloom    of      the  grave; 

mot     -  to,  "In  God       is       our  trust," 

-f- ;   f-  r  ,-* — s — ? 


Oh, 

'Tis  the 
And  the 
And    the 


say, 
star 
star 
star 


does  the 

span  -  gled 

span  -  gled 

span  -  gled 


I  I 

star  -  span  -  gled 
ban  -  ner,  oh, 
ban   -  ner  in 

ban    -  ner  in 

—ft « >— 


i 


IS    J* 


^& 


£ 


I     T 


^-4 


WEEE£ 


m 


ban 
long 
tri 
tri 


-&- 


-+- 


ner  yet 

may  it 

umph  doth 

umph  shall 


I 
<s 

wave 
wave 
wave 
wave 

K 


^ 


O'er  the 
O'er  the 
O'er  the 
O'er   the 


land 
land 
land 
land 


of  the 

of  the 

of  the 

of  the 


■f— 

free 
free 
free 
free 

J       ' 


and  the  home 
and  the  home 
and  the  home 
and    the   home 


of  the 

of  the 

of  the 

of  the 


brave  ? 
brave ! 
brave, 
brave. 


-■P^ 


tr. 


I 


144 


MUSIC  AT  SIGHT. 


Exercise  129.     My  Own  Native  Land.     Dal  Segno  and  Fine.     Pause. 


:S=£=q 


-0-     -*-*-»-     -*■■%■     -#- 


3=q: 


-JT-. i" 


roved      o  -  ver   mountain,    I've  crossed  o  -  ver    flood,     I've      traversed    the  wave  -  roll  -  ing 
right  hand  of  friend  -  ship  how    oft     have   I  grasped,  And  bright  eyes  have  smiled  and  looked 
hail,   dear   Co  -  lum  -  bia,    the    land    that   we    love,  Where  flour  -  ish  -  es      lib   -    er  -  ty's 


S=t=£ 


-+ 


^ 


±r 


T=TTT=Tf=cf 


z*=i=i=r- 


-i 1 — 


-H 


I 


fcfc 


:g: 


£&! 


? 


\-' — v  1 — — 4- 


=£ 


:tE2 


4=4 


£=^3 


sand  :        Though  the  fields    were     as  green  and  the  moon  shone 

bland  ;  Yet  hap     -    pi    -  er  far      were  the  hours  that 

tree ;  'Tis     the      birth  -  place    of  free  -  dom,  our  own  na  - 

1      r    ^ 


1 

tive 


bright,  Yet 
passed    In 
home ;  'Tis 


^ 


it 

the 
the 


P=t 


P 


J fL 


Fixe. 


=t 


m 


Chorts. 


■1    V-  4    '—* 

was  not  my  own  native   land.  No, 

west,  in  my  own  native    land.  Yes, 

land,  'tis  the  land  of  the   free.  Yes, 

I 


no,    no,    no,   no,  no, 

yes,  yes,  yes,  yes,  yes, 

yes,  yes,  yes,  yes,  yes, 

IS 


Dul  Ser/no 


*=£: 


No,  no,  no,  no,  no,  no. 
Yes,  yes,  yes,  yes,  yes,  yes. 
Yes,  yes,  yes,  yes,  yes,  yes. 


I 


PRACTICAL  DEPARTMENT. 


IU 


Exercise  130.     Through  the  Gates.     Da  Capo  and  Fine. 


Sixteen  young  ladies  arrange  themselves  in  a  circle  of  about  ten  feet  in  diameter,  each  two  forming  a  gate  by  facing  each 
other,  raising  hands  clasped,  making  eight  gales  in  all ;  eight  Utile  girls  are  placed  one  in  each  gate,  and  eight  others  one  between 
each  gale.  At  the  singing,  the  little  girls  march  through  the  gates,  keeping  step  to  the  tune,  until  they  have  twice  passed  the 
circle.    At  the  "  La,  la,  la,    the  young  ladies  forming  the  gates  also  march  around  the  circle  and  return  to  their  first  position. 


-9rb—i — ; — 

— r- 

-4— 

ri — 

-\— 

— H~ 

H r- 

^a 1— i 

aefc^fa 

— n — i 

-a 

~i — n — r~ 

-J— 

— 1 ! 

"  j  * 

~i 1 

— i   i- 

ITY       i     J          ! 

1        \  A    J       "i 

*    | 

! 

-J— 

VI)      4-   * 

«rs    m 

#           9  5      » 

~2 

4 

& 

*   f,   * 

^         1.  Lit   - 

2.  Eve  - 

3.  Beau 

4.  Lit   - 

0 

m  •     * 

tie     hands 
rv        lit   - 
-  ti    -    ful 
tie       feet 

•      m        • "     m 
are  clasped  so      tight 
tie   heart    re   -  joic  - 

as  flow'r  -  ets   bloom 
keep  trip  -  ping  brave 

a       m         m         a 

m       " 
ly,  Rogu 
es,  Clear 
iug   Are 
-  lv    On 
m      -*- 

-  ish 
as 
our 
till 

-#• 

r    "    •      * 

eyes   with  glanc-es 
brook-lets   pass  -  ing 
loved  ones  pass  -  ing 
sum-moued  from    on 

f"        •       - 

£/        «      m  »  m      « 
shy  ;      Lit  -  tie    feet    go 
by  ;  Hear  them  sound  their 

by :      See     the    lit  -  tie 
high :  Then,  with  an  -  gel 

-o          c        *        »       a 

L         2 

i 

(gjafr't  1 1 1 1 — 

-1 

1 1 

1 

' F " — ' 

-I 1 — 1 — 



1 

1 1 — 

■f — f~ 

— » — 

.-0. fp 0— 0 

1 

1            1 

\ 

1 

1 

1 

[      i 

1 

1           1 

d.  c.  La,     la, 


la. 


la,      la, 


la, 


la,     La,       la,       la,       la,     la, 


La,     la,     la,     la, 


t?= 

^T~ 

1— 1 

^=\ — r-g=j 

H 

-d 

#   - 

Fixe. 

Chorus. 

F        -tO 

• 

0 

-» — 

J 

* — 

^ 

1 

^— * 

— m\4  J 

4 — i — J^*^- 

3rr- 

r 

-^r\ 

-r— 

"EH 

W         ' 

f 

■ 

*    * 

trip  -  ping  light-ly  Through  the  gates    up  -  lift   -  t 
bird  -  like  voic-es  Through  the  gates     up  -  lift  -  « 
fai  -  ries  com-ing  Through  the  gates    up  -  lift  - 
guardians,  safe- ly    Pass    the     por  -  tals    of       t 

»       •       •       •      "P"       "P"       "P"                 m 

d 
d 
;d 

ae 

• 

Si 
high.1 
high, 
high, 
sky. 

r 

-  While 

wee     ro    - 

1 

sy      lips      are      cbeer-ing, 

fif:     £     £     -^ 

Ji 

Y  -.     i 

fcL 

4^-4 

1 b — 1 — 

»         e         *         s 
+- 1 1 1 

J 

U  1— P" — P — 1? — 

1 

*        P- 

^=4? ft — 

0 — m m — 

H 1 I- 1 — 

-# 

#— 

B* — | 

— t 

"I 1— 

i 

1 — 

1 

1        1 

1 

r~ 

1 

la,     la,     la,      la,     La,       la,       la,        la,      la, 


la. 


4      !      I  .    i    45J Urj [ 

g       j       ^     h-*1       jTTS g —  -g a! 


1 


fe 


-I 1- 


D.C. 


Answer  them  in  sweet  re  -  ply ;    Step  by    step  their  jour-ney  near-ing,  Thro'  the  gates  up  -  lift  -  ed    high. 


m 


+  £±-t  ±  ±  + 


Ffc=fc= 


p  p 


i      i      r 


M^ 


1~^- 


I 


146 


MUSIC  AT  SIGHT. 


Exercise  131.     Home,  Sweet  Home  !     Duet  and  instrumental  accompaniment. 


r 


T=-^ 


=tjTi — F=d'-H-^H=FP^-i-^rrl,l~^R==^:: 


-:■ 


1 


1.  'Mid  pleasures  and  pal  -  a -ces   tho'  we  may  roam,       Beit     ev  -  er   bo  humble,  there's  no  place  like  home ; 

2.  An     ex  -  ile  from  home,  splendor  dazzles  in  vain  :        Oh,      give    me  my  low-ly  thatched  cottage  again  ! 


&fc 


%-A 


^=M 


t 


^m^^^^^m^m 


^. 


*tdfc 


t) 


i-  I  J.  Ji 


±Jf-  g»  f  fcg 


■#. 


S  S   « 


3=s 


1 


A  charm  from  the  skies  seems  to  hallow  us  there.     Which,  seek  thro'  the  world,  is  ne'er  met  with  elsewhere. 
The  birds  singing  gai  -  ly  that  come  at  my  call :  Oh,  give  me  sweet  peace,  that  is  dear-ex  than  all  ! 


fai^i 


%3T- 


4  £    |  ^44Lt4q^z^^zM44H4q=g^#fel 


Chorus 


E^g^fe 


i^^ 


■v 


-N-N 


4*£ 


-A 


I 
Home,       home,       sweet,  sweet  home ! 


Be  it    ev 


er    so  hum  -  ble,  there's  no  place  like  home. 
Hi. 


T=i= 


gjg 


PRACTICAL  DEPARTMENT. 


147 


Exercise  132.     Greeting  Glee. 


-. 


:4z 
z4z 


3S 


We   have    come  with  songs  to      greet  you,  While  our  hearts  are  glad   and     free  ;    Joy  -   ful  -    ly,     dear 
Friends,  we  come  with  songs  of  glad  -  ness,  Cheer-ful  -  ness      in    ev  -    'ry  strain;   Ban  -  ish      far       all 
We    have    songs    for  gay      and    cheer  -  ful.  Greeting      for      the  rich    and    poor;  Com-  fort    for       the 


dtfc 


m 


-j=-t 


i — r 


4=tt 


i 


Chorus. 
-4- 


^=H 


-J±i 


ZZZZWZ. 

We 

with  a  soug  ;  We 

— 0    0    0 0- 


frien 
thou 
sad 


ds,  we 

hts  of 

and 


meet 
sad  - 
tear  - 


m 


you 
ness, 
ful, 


In 
Joy 
Songs 


this     hour    of  ju    -    bi  -    lee. )  We  come, 
and    mirth  to-night  must  reign.  ■ 


to  greet 


of    glad  -  ness  ev    -    er-  more. 


full  of  mirth, 


t=t 


-*-?-F 


^:«;=£t&t 


V    is    I 


i 


J r- 


K       h 


-J 1- 


m 


-* — s 


zwzzzlz 


-«--* 


bring  love,    joy     and  gladness;  full  of  mirth,  with  a  song  Friends,  strangers,  brothers,  all. 

bring  love,    joy     and  gladness;     We   come,  to    greet  Friends,  strangers,  brothers,  all. 


w 


_# «_ 

-0 — 0- 


:t=^ 


1 


148 


MUSIC  AT  SIGHT. 


Exercise  133.     Busy  Little  Gleaners. 


-9--hn ^H N— I— i — 'V-l ^ — 1 — f— J * N   ^    pV- r — i 

«-  v     v     v 


Gath-or  -  ing    in        the  car  -  ly  dawn,  Gathering  when  the  night  comes  on  ;  Yonder  in   the  ripened  fields 


dfchTf^b: 


^V'H- 


fit 


-"£- 


»■-* ^   -*-! 


:P=fc=t=t 


« «_« 


J=t4 


^t-^ 


^rrPf-H-f^^T 


S3 


=£ 


_^ 


( 1.  The  gold  -  en  grain      is    gathered     in.      The  sheaves  of  good  from 
I  2.  Tho'  reap-  ers  throng  from  far  and  near,    The  Mas  -  ter   leaves   an 


m 


Hun  -  dred-fold    the  harvest  yields.  <  2.  Tho'  reap-  „, 

[3.  Out    in       the  high  -way where  you  go 

— it-*. 


To   plant  or    reap,  there's 


±=t 


:t=: 


IS 


*=f=pf=f 


y 


K    ^    Chorus.  .       .    Echo.  . 

(3+ *-■ 1 I— L U, L 1 1-  -a-T-~T 1 l-l— L \-m m 1 


ii 


fields  of  sin, 
honored  shai 
work  to     do 


By     bu   -  sv 

For    bu  -  sy 
For    l)u  -  sv 


lit  -  tie 
lit  -  tie 
lit    •    tie 


glean 
glean 
glean 


ers, 
ers, 
ers, 


Bv 
For 
For 


bu 
bu 
bu 


lit 
lit 
lit 


tie 
tie 
tie 


glean 
glean 
glean 


ers. 
ers. 
ers. 


If:' 


k        i?   r    v/        ii    u   n  p I     p  !i 


PRACTICAL  DEPARTMENT. 


149 


Exercise  134.     Come,  Cheerful  Companions.     Duet  and  instrumental  accompaniment. 


-N— A FN [V 


H 1 r  — i P — Pv-I 

• — € — • — 0 — m \—\ 

-i — i — i — i — s — i — 


•         *  -S-         -0-  ■*-  -0-     i 


■*— *— w— **=" 

1.  Come,  cheerful  companions,  unite  in  this  song, —  Here's  to  the  friends  we  love !         May  boun-ti-ful  heaven  their 

2.  And  first  the  dear  parents  who  watch  o'er  our  youth,  They  are  the  friends  we  love  ;  And  next  are  our  teachers  who 

3.  Xext  think  of  the  absent  to    all    of    us  dear — Think  of  the  friends  we  love.     Oh,  would  they  were  with  us!  Oh, 

4.  And  here's  to  the  good  and  the  wise  and  the  true  !  Thev  are  the  friends  we  love  :      Their  beau-ti-ful  lives  are  for 


?5S: 


I 


m 


«, 


sweet  lives  pro-long!      Here's  to  the  friends  we   love! 

tell      us     the  truth ;    They  are  the  friends  we    love, 

would  they  were  here  !  They  are  the  friends  we   love. 

me   and   for    you  ;      Thev  are  the  friends  we   love. 


Chorus.   !n    n    ,s    n 


m 


ESf 


Oh,   sympathy  deepens  whenever    we  sing; 


m 


S 0- 


i 


_>  _>  _>  _>  _> 


.s 


r\     P\     r\ 


m— tl— 0— 0~fj— •—•—',— =rF: 

0      0      3      0_pL^_m,_j =p_ 


-fc !S V- 


£ 


irfr-fc: 


-«p-=i- 


*-0Z 


TT~TT 


— 3-  A  A  -A  4- 


Friendship's  the  mystical  word  in  our  ring  :  Here's  to  out  friends,  Here's  to  our  friends,  Here's  to  the  friends  we  love ! 


150 


MUSIC  AT  SIGHT. 


Exercise  135.     God  is  Ever  Good.     Sonsr  and  chorus. 


*-=■ — *— =i-F-*r- 


1.  Sec      the 

2.  Hear   the 

3.  Hear   the 

4.  In        the 


shin  -  ing    dew-drops     On       the  flow'r  -  ets   strewed; 
spark-ling   sun  -  beams,    In     their  laugh-ing     mood, 
ti    -    ny   stream  -  let     Break  the     sol    -    i    -   tude. 
leaf  -  v    tree    -    tops    Of       the     svl  -  van    wood, 

I  >       I  II 


Glad  -  ly    they  are    say    -   ing, 

Joy  -   ous  -  ly  pro-claim  -  ing, 

With      its     rip  -  pies   tell    -    ing, 

Mer  -   ry   birds  are    sing  -  ing, 


j=j=^ 


t=mm 


4=i=i 


T- — i H v — i v-H 1 — 3 


iMiz 


=fc=t= 


Choetjs. 


i 


*=t 


=ffl 


SzizztotzS: 


:m^m 


sr 


r 


God       is       ev   -   er 


good. 


Bring,  my  heart,    in     trih   -   ute,    Songs     of    grat  -  i    -   tude, 


g;r 


is=J- 


i=! 


^=E 


f-T- 


i 


Very  softly,  to  represent  a  distant  choir. 


While    our 


na  -  ture 
-+d 


#~T #-t~- CJ « J-# • LH— L—  J * »-• * UH ,J 

....    ^    ^  ^    ^    ^T^  f^  'f    -    3^3 

at    -    ters,    God      is       ev   -    er      good,  God       is      ev   -    er     good. 


1^=£ 


IS «_ 


=E 


JZMZ 


t=t 


B=, 


er     good. 


PRACTICAL  DEPARTMENT. 


151 


Lesson  XIX. 

Exercise  136.     Intervals  found  in  the  diatonic  scale. 
Seconds.  ,       1       I       i     Thirds. 


m 


4-4 


J 


3=4 


m 


4- 


Fifths. 


Fourths. 


is 


g^g- 


Sixths. 


&H=* 


i 


_J Urf_ 

Octaves. 


5£     ^~~ 

Sevenths. 


J, 


S 


^ 


J       .    V 


Unisons. 


F* 


m 


ti§ 


^ 


c    *■ 


Exercise  137.     Intervals  in  the  diatonic  scale  from  the  major  key-note. 


Lnison. 
The  same  pitch. 

Major  Second. 
1  step. 

Major  Third. 

2  steps. 

Perfect  Fourth 
24  steps. 

Perfect  Fifth. 
34  steps. 

Major  Sixth. 
44  steps. 

?barp  Seventh 
54  steps. 

Octave. 
o£  steps. 

Q 

1 

/! 

«              1 

im 

« 

1 

v.  .u 

^,4* 

' S 

■n 

1 i 1 

1 

Exercise  138.     Intervals  in  the  diatonic  scale  from  the  minor  kev-note. 


Unison. 
The  same  pitch 

Major  Second. 
4  step. 

Minor  Third. 
14  steps. 

Perfect. Fourth 
24  steps. 

.  Perfect  Fifth 
34  steps. 

Minor  Sixth. 
3S  steps. 

Flat  Seventh. 
4§  steps. 

Octave. 
58  steps. 

y 

1 

/f 

1 

frri 

'4               1 

v  -,) 

1 ^ 

1 & 

o 

1 

I 


Exercise  139.     Diminished  and  extended  intervals. 

Minor  Second.  Sharp  Fourth.  Flat  Fifth. 

£  step.  3  steps.  2*  steps. 


Minor  Augmented  Sixth.  Minor  Extended  Seventh. 
4£  steps.  3*  and  \\  steps. 


152 


MUSIC  AT  SIGHT. 


Lessons  XX,  XXI  and  XXII. 

Exercise  140.     The  Dearest  Spot.     Accidentals.     Sharp  one,  sharp  four  and  double  sharp  six. 

St r-J rV-H ^r—  ^-H r , r-J— 


=1 


T 


'        -fr 


— 


-s- 


=1= 


-1  '-d- 


=t 


=i= 


1.  The    dear  -  est    spot      of      earth    to 

2.  I've  taught  mv  heart    the      way      to 


me  Is     home,  sweet  home  ; 

prize      My    home,  sweet  home  ; 


The     fai    -    ry    land   I've 
I've  learned  to    look  with 


^ 


=SEEE 


rr^f^t 


Fine. 


3 \ f2^ 


st 


-£=£ 


SE 


S^=2 


longed  to        see       Is  home,  sweet  home.     There  how  charmed  the  sense  of  hearing!  There  where  hearts  are 
lov  -    er's     eyes     On  home,  sweet  home.     There  where  vows  are    trn   -    ly  plighted,  There  where  hearts  are 


1# 


f— r- 


r 


-m — w 


t:  'J 


m 


^E 


rEs3=sEi 


±=^9=i=i 


P=5: 


so 
so 


en  -  dear  -  ing, 
u  -    ni    -   ted, 


All 
All 


the  world     is        not       so 
the  world     be  -  side      I'vt 


cheer  -  ing    As      home,  sweet   home, 
slight  -  ed     For    home,  sweet    home. 


=i=~-f  f~~£ 

_p_i_p=f_;^ 


■f— c- 


*=t 


n- 


It 


n 


PRACTICAL   DEPARTMEST. 


153 


Exercise  141.     Twinkle,  Twinkle,  Little  Star.     Accidental  sharp  two,  ritard  and  a  tempo. 


£fcfH— j^ih-  f- 

fT^ 

—1 

f"     1 

— f< 

[  ^    h^r 

=| 

=^            J^           _| 

1.  Twin-kle,  twin  -  kle 

2.  When  the  blaz  -  ing 

3.  In       the    dark   blue 

-#-       -#-     -#-       -0- 

1 

lit    - 
sun 

sky 

-#- 

*   *  ■   * 
-0- 

tle    star.     How 

is     gone.  When 

you    keep,    Oft  - 

■*-      -   •        - 

-0-     -0- 

I     won  - 
his    dai    - 
en  through 

-*— 

-0- 

der 

ly 

rny 

-J-J-J— »4- 

-0-         -0- 

1 

what  you  are  ! 
round  is  run, 
cur  -  tains  peep, 

# 

■0- 

How 

When 

Oft  • 

-0- 

1                                1/ 

I      won   -  der 

his    dai    -    ly 
en  through  my 

■P-      0 

~       L 

— i 1 1 

— i 1 1 1 

— i 1 — i — 

|                          1                     l f— 

^^    i V     1        b 

-i V      h- 

"  1 

v     I — 

-v— 

I —     V    L 

-      V 

—U » • — 

— f 1 1 1 

a  tempo. 


isrzfc 


-i 1 --N 1 « 


* — 


what     you        are, 
round     is  run, 

cur  -  tains       peep, 


Up  a  -  bove  the  world  so  high.  Like  a  dia-mond  in  the  sky! 
Then  you  show  your  lit  -  tie  light,  Twinkling  all  the  drear  -  y  night. 
For     vou    uev  -  er      shut     vour  eye        Till     the    sun       is        in      the    sky. 


m  . — m 1 — i — 

-#--— 0—  s— P^ 


It 


- 


:EE 


-i — i — i 


^— J- 


± 


rit. 


m 


m 


Twin  -  kle, 
Twin  -  kle. 
Twin  -  kle, 


w. 


twin  -  kle, 
twin  -  kle, 
twin  -  kle, 


twin 
twin 
twin 


kle 
kle 
kle 


Like 
Twin 
Till 


kle, 
the 


dia  -  ruond 
twin  -  kle 
sun         is 


-m •- 


all 


the  sky. 

the  night, 

the  sky. 


Sin 


154 


MUSIC  AT  SIGHT. 


Exercise  142. 
Very  slow. 


Passing  Away.     Accidental  intermediate  tones  and  chromatic  intervals. 


"  We  are  pass  -  ing   a  -way,    we   are  pass  •  iug    a  -  way  !"  Is  the   mor-tal     re-train    ev  -   er  ■ 
"  We  are  pass  -  iug  a  -  way !"  'tis  the  tri  -  uraph  of  faith  ;  'Tis  the  hand  ev  -  er   beck'ning  us 
"  We  are  pass  -  ing  a  -  way  !"  but  be  -  yond  us      a  -  rise     In  their  beau  -  ty   the  things  that  re  ■ 
"We  are  pass -ing  a  -  way,    we   are  pass-  ing    a  -  way!"  Oh,        fast  -  er,  dull  stream,  fast-er 


more ; 
on ; 
main  ; 
flow  ! 


-0-    -0- 


a=E 


->- 


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V       V       V  ' 


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'Tis  the  song    of    the   lark   at     the    ris  -  ing    of    day, 
'Tis  the   on  -  ly  bright  ray   in     this    re-gion   of   death 
And      hope  sees  the  lov'd  gathered  home  to   the   skies, 
Bear  me  quick-ly    a  -  long   to    the    por-tals    of    day; 


fF^f 


H- 


mm 


V       V 
And  the  moan  of     the  wave  on     the 
That  re-wards  us    for    all    that    is 
And  in    rap-ture  we  meet  them  a  • 

I      am  wait  -  ing  and  long-  ing    to 


shore, 
gone, 
gaiu. 
go. 


Pass  -  ing    a  -  way, 
Pass-iug,  we're  passiug 


4S"  >    t 


J    J" 

0 J^~ 

m id*. 


pass  -  ing     a  -  way,  Swift-  ly  we're  pass  -  ing    a 

way,       we're  pass  -  ing  a  -  way,         we're  pass -ing    a 

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I'M  A  CTICA  L   DEPA  B  TMENT. 


155 


k               k.                   r\     nil    -     -     len     -     -     tan     -     -     -     -     do. 
r-9- IV — s S — k — N — F1-!-^ * — P ! J-t— ** — ^ — \ — N- — s r-K n 


m 


Time  bears  us   on      to    the    beau  -  ti  -  ful  throne;  We're  passing,  we're  passing,  we're  passing     a  -  way. 

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Exercise  143.     Hear  the  Little  Feet.     Sina;  softly  and  tenderly. 


&-*■ 


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3=* 


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5S 


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1.  Hour  the   lit  -  tie  feet 

2.  What  pa  -  ren-tal  heart 

3.  Mother,    on  -lv  thou 


pat  -  ting  on  the  floor, 
can  its  pleasure  tell 
canst  the  anguish  know, 


fc^rSzin^i 


Out   upon  the  graveled  walk,  climbing  at  the  door; 
As      it  hears  the  lit-tle  feet    it   doth  love  so  well ! 
Waiting  for  the  lit-tle  feet   si  -  lent  long  a  -  go; 

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156 


MUSIC  AT  SIGHT. 


Exercise  144.    Trot,  Trot,  Trot,  Friendly  Steed. 

.1  h      is 


tHIst 


t=t 


Glee.     Double  measure. 


- 


3= 


Sharp  four. 

J 


1.  A  -  way  now  fleet-ly       rid  -  ing  With  heart  and  hope  so   light, 

2.  The  trees  seemed  past  ns  flying,  The  mountains  seemed  to  race: 

3.  At  length  a     eot-tage   shin  -  ing  Mid    flow'rets  came  in    sight; 

4.  Now  by  the  tire  -  side  smil  -  ing,  There's  one,  the  star  of  home  ; 


m 


f-  -r  f- 


v— r 


±  r 


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My  foaming  steed  now  chid  -ins.  Then 
My  sight  these  objects  spy  -  in?.    All 
My  steed,  its  home  di  -  vin  -  in?,  Sprang 
With  gentle  words  be  -  guil  -  ing,    She 


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cheer  - ing 

mocked  us 

on         in 

bids    me 

in 

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rap 

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to 

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flight : 
pace, 
iight. 
•oam. 

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Now 

How 

Now 

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urge   thee    still 

slow    the    hours 

by      the     door 

can  -  not      say 

•      fl     -f- 

more 
vet 

I 
her  ' 

-«- 

1 — 0— - 

fleet, 
glide, 
see 
Nay ;' 

"f"- 

0 — 1 F— 

\l 

We'll    meet 

The      road 

Two  bright 

'  Time    seems 

a 

so 

syes 

to 

• 

smile 

clear 

watch 

fleet 

-*- 

« i — o — J 

most  sweet. 

and     wide! 

ing         me. 

a    -    wav. 

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Trot,  trot,  trot,  trot,  trot,  friendly  steed. 'Tis  love  and  home  we'll  greet,  'Tis  love  and  home  we'll  greet. 
Trot,  trot,  trot,  trot,  to  -  day  a  -  way ;  We  must  more  fleetly  ride,  We  must  more  fleet-ly  ride. 
Trot,  trot,  trot,  trot,  my  own  good  steed  ;  There's  home  and  rest  for  thee,  There's  home  and  rest  for  thee. 
Trot,  trot,  trot,  trot   a  -  far      no  more  ;  With  love  at  home  I'll    stay,     With    love    at    home  I'll      stav. 

-   -   .    r 


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PR  A  CTICAL  DEl'AHTMEST. 


ibl 


Exercise  145 
Andantino.  p 


Evening  Shadows.     Accidental  sharp  two  and  sharp  four.     Ritan 


5^: 


1.  Shadows  now       are  thickly  fall-ing.  Night  its  man  -  tie  round  us  throws  ;     Voic  -  es      all  around  are 

2.  Comes  the  fra  -  grant  breath  of  flowers  Wafted   on  the  evening  air ;  So       may   all  the  precious 

3.  Songs  like  ran   -   sic  of  the    o  -  cean  Have  gone  up        in  praise  to-day ;  And   the    spir    -     it   of  de- 


m 


f.j^jijj.  j.  jjjj.^jj 


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«    « 


rft 


call  -  ing,       Bid-ding     us  to  seek    re  -  pose, 

hours,         Spent  in      ser  -  vice  sweet  and  fair, 
vo  -  tion      Held  us      in  its  mys  -  tic    sway. 

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T-   0 — -*- -+-^jt — «— p — 0 


3=*= 


ztzP 


Ir^jr 


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£ 


Calm  and  trust  -  ful,  calm  and  trust  -  ful  May  we 
Rise  as  in  -  cense,  ris?.  as  in  -  cense,  And  our 
Lord,    a    bless  -  ing,      Lord,  a    bless  -  ing      Send  us 


rest 

grate 

with 


from  griefs  and  woes!  Calm  and  trustful,    calm  and  trust  -  ful       May  we  rest  from  j 

-  ful  love  de  -  dare.       Rise  as     in  -  cense,     rise  as      in  -  cense,  And  our  grate  -  ful 

the  closiug  day.        Lord,  a  bless  -  ing,     Lord,  a    bless  -  ing     Send  us  with     tin 


& 


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p    p  P 


p    p 


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griefs  an 
love  de 
closing 


d  woes  ! 
clare. 
day. 


P»      I       i 


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t  Ft  p 


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tp^t= 


T~V- 


158 


MUSIC  AT  SIGHT. 


Exercise  146.     Those  Evening  Bells. 
Accidental  sharp  four. 


Solo  and  vocal  accompaniment.      Sing  the  latter  softly. 


±1 


■N 


J5 


^-1=1 


+ 


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i    p    [/    [/    p 

1.  Those  evening  bells!  Those  evening   bells! 

2.  Those  joy-ous  hours  Those  joy 


rr 


3.  And    so    'twill  be      Ami 


'twill     be      when     I 


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EE 


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£ 


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X  -'       U       1/       U       1/       i    •  X 

Those  eve-ning  bells !  Those  eve  -  ning  bells !  How   many     a 
are  passed     a  -  way,  are    passed      a  -  way.    And    many     a 


when  I      am    gone —  That   tune  -   ful 


:^: 


=t=E=£ 


tale 
hear 
peal 


How  many  a 
t  And  many  a 
That  tuneful 


tale 
heart 
peal 


x  k    1/  >    b  "'    U    1/    1/    U     "'     x 

their  mu-  sic  tells  their  mu-sic  tells  Of  youth  and  home,  Ot  youth  and  home,  and  that  sweet 
that  then  was  gay,  that  then  was  gay,  Within  the  tomb  Within  the  tomb  now  dark  -  ly 
will  still  ring    on,  will  still  ring  on,  While  other  bards  While  other  bards  will  walk  those 

#-     -#-     -0- 


J^E^ft 


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=£=«=£ 


iwm 


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m- 


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i/    i/    i/    w  s  i    1/    1/    b    u    i    x 

time  and  that  sweet  time  When  last  I    heard  When  last  1  heard  your  soothing 
dwells,  now  darkly  dwells,  And  hears  no   more  And  hears  no  more  those  evening 
dells  will  walk  those  dells  And  sing  your  praise.  And  sing  your  praise,  sweet  evenin 

T   f-   f   J- f-  f-   f- 


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PRACTICAL  DEPARTMENT. 


159 


Chorus. 


Q. 

is        n        N 

1                                1                                Is              l»              N 

i  - — -  i  • — ■  Is    Is    i*    Is 

1                                        j 

—4 "-0 -4 1 1- f>t  - 

— « -j ~-i — j — i — j — ■ 

2 

T          " '        J 

.       .       .       .       • * J- 

n  "*     "  ■-    G    C C    P    n    ^ 

Sweet  eve  -  ning    bells!                                           Sweet   eve-ning 
Sweet    eve  -  ning  bells! 

m         m         m         m 

' — =1 • 0 0 • = J 

U     U     ^     1/     ^     s 

bells!                                 How  vast    a 
Sweet  eve-ning  bells  ! 

-0-      -0-      -0-      -0- 

t»y 

p       •       p       » 

IrJ- 

M                            1                1                                 M             <* 

CS-                     »v 

1      b       [i'       b      f       ^       ~ 

1        p         m        m         m  ■      ~         S 

i     i     r    i 

l>      V      V      V 

i 


5=^=5fp= 


V      V      V 


^ 


\>   1/    ' 


change  your   pealing  tells!  What  smiles  and  tears,  re-gretsand 

How  vast    a  change  your    pealing  tells !  What  smiles  and  tears, 


w 


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£ 


-p — « — * — i=F 


i— t 


1 


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1/     P     '•     b 


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P     £     t     U 


& 


1     1/     1/     1/     1/     1     s 

fears,  While  mem'ry    dwells,  sweet  evening 

regrets    and  fears,  While  mem'ry  dwells, 


-3 s- 


bells ! 

sweet  evening  bells 


M 


160 


MUSIC  AT  SIGHT. 


Exercise  147.      Soft,  Soft,  Music  is  Stealing.      Accidental  sharp  one  and  sharp  six. 


± 


&=?: 


a— — 


bdt± 


-?—!?'- 


=^- 


-fr-v- 


1.  Soft,      soft,     mo  -sic    is    steal  -  ing;  Sweet,  sweet,  lin  -  gers  the  strain  ;  Loud,  loud,  now   it  is  peal-ing, 

2.  Join,    join,    cliil  -  dren  of    sad  -  ness ;  Send,  send,    sor  -  row    a -way;   Now,    now,  changing  to  gladness, 


fc=T* 


a— 8-^ — *-— pg-?=g— s — - — g 


■•!-— 


35 


-^ 


±* 


3.  Hope,   hope,  fair    and  en  -  dur  -  ing ;  Joy,      joy,  bright   as  the    day;  Love,     love,  heav-en  en-sur-ing, 


m 


e 


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-U — f- — »- 

-v — U — i — 


£± 


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^— H F^ — LF L 


fe|— t 


-5*— f- 


v — fr— i/ 


Wak-ingthe    ech-oes    a  -  gain. 
War  -  hie    a     beau  -  ti  -  ful     lav. 


Yes !     yes !     yes !     yes  !   wak-ing  the    ech  -  oes     a  -  gain. 
Yes!    ves!     ves!     ves!    war-ble   a    beau  -  ti  -  ful      lav. 


=K=£=i 


m 


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Ji#S: 


m 


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mm 


Sweet-ly    in  -  vites  you    a  -  way. 


Yes !     yes !     yes !     yes !   sgreet-ly   in  -  vites  you    a  -  way. 


?EE^gg£E5Eg 


-» — 9- 

-W — I — 


±=sc 


PRACTICAL  DEPARTMENT. 


161 


Lessons  XXIII,  XXIV  and  XXV. 

Exercise  148.     Beautiful  Spring-time.     Solo  and  instrumental  accompaniment.     Major  and  minor. 
Accidental  sharp  six  and  seven  of  the  minor  scale. 

-I— 


4 


T-Ft- 


=1= 


&z 


Beau-  ti 
Bean-  ti 
Beau-  ti 


ful  sprin; 
fill  spriuj 
ful  sprin; 


;-time, 

-time, 
;-time  ■ 


fair  -  est 
win  - ter 
zeph-yrs 

«_ 


of   flowers,  Beau  -  ti  -  ful  music  from  the  bright  rosy  bowers  ; 

has  fled  ;  Bright  gold-en  sunshine  in  the  sky  o-ver-head. 

will  bring  Sweet-scent-ed   odors  in  their  welcome  to  spring: 


:*=t 


-1—4- 


-i — ' — a hr— t 

SHI 


U-M— i 


fis 


Wild  birds  ;ire  singing  their  sweetest  lay   To    herald  the  beautiful    May. 
Daisies  and  blossoms       on  grassy  plain      Invite  to  their  blooming  domain. 
Hillside  and  val  -  ley,     in  bright  array,       All  welcome  the  beautiful  May. 


)    The  leaves  and  the  birds  spring 
1    The   blade   and  the  vine    from 


m 


got 


tzt 


±=i 


w  p 


i=P 


■#-£-  -H* 


forth  from  their  sleep 
mossy  beds 


creep. 


•  Come  to  the  wildwood,  there  let  us  pay      Homage   to   beau-ti-ful    May. 


162 


MUSIC  AT  SIGHT. 


Exercise  149.     Our  Parting. 
Andante, 


3& 


4—4 


::fc3: 


«sl    ■* 


^-=4 


■& 


H^— iv- 


,*; 


r 


:^_ 


3l- 


"ST- 


3 


1.  Good-night !  Good-night !  Sweet  be  your  dreams  at  parting !  Good-night !  Good-night !  Dark  shadows  softly  fall,  And 

2.  Good  night!  Goodnight!  Then  let     us  speak  it  softly — Good-night!  And  as  we  grasp  eaeh  other's  hand,  See 


m 


9E* 


'JLJ1 


E 


Sig-g:  «r.r^  •** 


H 1- 


g=^ 


fcNt 


3c 


n 


dim. 


E^^B 


33 


r~s 


Majestic.     Octaves  and  Fifths 
' — 1—4—4 — 


from  our  eyes     the  teardrops  starting,    6  -  bey  true  friendship's  earnest  call.         We  part,   we    part    per- 
in     eaeh  face       a      kindly  gleaming,  And,  bound  by  friendship's  sacred  band,  Though  dis-tant    be      our 


:5S — «_+&... 


4=t 


-»-    -g-    -#-    t>j 
-p — t/ — |— 


Accomp.  ad  lib. 


I?    P p P P t^  s*  *a 


fei§ 


1—4 — I- 


" 


4"   h   I 


4=4: 


*-  • 


haps    for 
lot      at 


ev  -  er  ;  Like  sands  up  -  on 
parting,  Tho'  we  may     nev 


the  beach  a-sun-der  torn.  The  waves  of  time  in  fierce  endeavor    May 
it  meet  on  earth  again,  Each  teardrop  from  us  soft-ly  starting  Will 


Chorus. 


r.JF'ff 


E3E 


I 


PRACTICAL  DEPARTMENT. 


163 


3E 


Bit. 

-i — tm& 


pp 


St 


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35SS 


pC*i=t2; 


I 


^S--  -«-  * 


~*~^S-    * 


part    us  ere    the  break  of    com  -  ing   morn, 
form    a  link    in  friendship's  ho  -  ly    chain. 


Good 
Good 


night ! 
night ! 


Good 
Good 


night ! 
night! 


^ 


#-=—#- 


X 


Wtt 


e 


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1 


V       9V       V       V   ■   V       V       V 
Exercise  150.     Beethoven's  Hymn. 
Andante  maestoso.  ^ 


A  minor. 


Good  -  night !  Good-night !  Good-night !  Good  -  : 


* 


I. 


2. 


i*—*: 


it*: 


p    *  V 


-*-** 


3=J^= 


g 


f  The  Lord  our  God  is  clothed  with  might,  The  winds  o  bey  his 
j  He  speaks,  and  in  the  heav'nly  height  The     .... 
I  Howl,  winds  of  night,  your  force  combine ;  Without  his  high  be 
[  Ye     shall  not    in    the  mountain  pine  Dis-     .... 


will; 
hest, 


^^rf-1^ 


roll  -  ing  sun  stands  still, 
turb  the  spar-row's  nest. 


Jr 


m 


fi: 


:»    » 


± 


± 


t 


l=t 


-?=*- 


3^ 


£^ 


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*-#: 


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=s 


f  Re   -   bel,  ye  waves,  and  o'er  the  land  With  threatening  aspect  roar ; 

I  The   Lord   up-lifts  his    aw  -  ful  hand  And 

I  His   voice  sublime   is  heard    a  -  far  ;  In      dis-tant  peals  it        dies: 
\  He    binds  the  whirlwiud  to  his  car,  And        ..... 


0   t^- 0-0-9 

chains  you  to  the      shore, 
sweeps  the  howling  skies. 


I 


=t 


m 


164 


MUSIC  AT  SIGHT. 


Exercise  151. 
Vivace. 


Lessons  XXVi  and  XXVII. 

Away !  Away !     Chorus.     Marcato  signs.     Da  Capo.     Fine. 

-I- 


m 


m 


& 


3 


== 


& — <&— 
— > ■ 

=> 


ss 


1.  A  -  way  !     A  -  way  !  the  moon  and  stars  arc  shin 

2.  A  -  way  !     A  -  way  !  the  morning  fresh  -  ly  break 

■£.-  £:    «-     t    -«.    -0-  -£. 

E 


/2_1 C_ 


J2_A_pL. 


4=1= 


:  We'll  dance  o'er  hill    and    flow  -  ery  green. 
,  Shines  bright  our  lingering   steps    to   chide; 

=E=tf— FEg==q=B 


til 


i 


:fc*B- 


1±5t 


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-=P 


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Fine. 


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With  laughing  eyes      and  hearts  that  know  no  pin    -    ing,  We'll  make  the  night  pay  homage  to  onr  queen. 
And  light   with  sport  and  song  our    la  -  bor  mak    -    ing,  With  joy      we  haste   to  roam  the  mountain  side. 

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A  -  way  !     A  -  way  ! 
A  -  way  !     A  -  way  ! 


A  -  way ! 


A  -  way ! 


a  ,  f  The  fairy  moonlight  streaming  Upon  the  mountain  height, 

A  -  way  .  j     j^g    if  the  world  was  dreaming  Of  music  and  delight. 

,       „      ,  (  The  morning  freshly  breaking,  Comes  shining  o'er  the  lea; 

-  way .  |  prom  dumber  sound  awaking,  Our  early  song  shall  be : — 


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PR  A  CTICA  L  DEPA  R  TMENT. 


165 


Exercise  152. 
and  Mezzo. 

Allegretto,  i 


All   Hail   the   Children's   Jubilee !      Allegretto  movement.     Forte,  Mezzo  Forte 


I 


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1.  All     hail     the  chil-dren's  ju     -     bi-Iee!     This    is       the      hap  -  py     day. 

2.  With  thankful  hearts  we   join        as  one     And  tune     our     voice     in    praise 

3.  Now   pa  -  rents,  friends  and  teachers  kind,  Who  love's  best      ser  -  vice  give, 

4.  Ye     dear   corn-pan  -  ions,  oue       and  all,    With  ex  -  pec    -    ta  -  tions  bright, 


Here  friends  and  te 
To    him,      the  Gi 

Who  min  -  is-  te 
To  -  day     with  he 


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round  us  meet.  And  help   to  make  our  joy    complete  This  bap  -  py     chil  -  dren's  day.    i 

of      all  good.  For  life     and  health  and  dai -ly  food,  Aud  for       his    boun  -  teous  grace.  |  r™  .  -       ,■ 

earn -est  zeal,  And  strive  and  la- bor    for       our  weal.  Our  grate-ful  thanks     re  -  ceive.  1  ^ 

voice  we'll  bring  To  friendship  oue  more  of-  fer-iug,  Ere  school-days  take    their  flight.  J 


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Let     all     the  chil-dren  sing. 


166 


MUSIC  AT  SIGHT. 


Exercise  153.     Hail  Columbia 

»  Allegretto.  Murtellato, 


National  song. 


1.      -  Hail, 

"2.  Im  -  mor   - 

3.  Sound, 

4.  Be  -  hold, 


Co  -  lum  -  bia,  hap  -  py  land !  Hail,  ye  he  - 
tal  pa  -  fcriots,  rise  once  more;  Defend  your  rights, 
oh,  sound      the  trump    of      fame !  And        let   Wash 

the  chief     who  now    com  -  mauds  Once  more  to    serve 


MEB 


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roes,  heav'n-born  hand, 
de-fend  your  shore; 
ing-ton's  great  name 
his  coun  -  try   stands, 

-4J    t    JL. 


Who 
Let 

King 
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fought  and    bled 

no      rude     foe 

through  the  world 

rock      on    which 


g^ 


in    free  -  dom's  cause,  Who  fought  and  bled  in  free-dnm's  cause,  And  when  the  storm  of 
with  im  -  pious  hand,  Let    no    rude  foe  with    im-pious  hand     In-vade  the  shrine  where 
with  loud      ap-plause.  Ring  through  the  world  with  loud  applause  ;  Let  ev-ery  clime    to 
the  storm  will    beat,   The   rock    on  which  the  storm  will  beat ;  But  armed  with  vir-tne, 
I  -0-     -0-     -0-     -0-     -0-     -0-     -0-  -0-     -0-     -0-     -0- 

r — r — r~y — i — r~i  r  ii  t — t~ 


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war    was  gone, 

sa   -   cred  lies, 

free-dom  dear 

firm    and  true, 


En  -  joved  the 

Of    toil      and 

Lis  -  ten 

His  hopes  are 


III  \i 

peace  your  val  -  or    won.        Let     in  -  de-pend-ence  be     our  boast, 
blood,  the  well-earned  prize.  While  off'rlng peace  sin-cere  and  just,     In 
with       a      joy  -  ful     ear.        With    e  -  qual  skill,  with  godlike  pow'r.  He 
fixed      on  heav'n  and  you.      When  hope  was  sinking    in      dismay.  When 


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PRACTICAL  DEPARTMENT. 


167 


52 


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Ev   -   er  mind  •  ful  what      it       cost;  Ev  -    er  grate  -fill     tor       tlie   prize,  Let       its   al    -  tar 

heaven  we  place     a    man  -  ly      trust  That  truth  and  jus  -  tice   will     pre  -  vail,  And  ev  -  ery  scheme  of 

gov  -  ems  in  the  fear  -  ful  hour  Of  hor  -  rid  war,  or  guides  with  ease  The  hap  -pier  times  of 
gloom    obscured  Co  -  lum  -  bia's  day,     His  stead  -  y  mind,  from  chang-es       free,   Eesolved   on  death   or 


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Firm,        u  -  ni    -    ted     let       us        be,        Ral  -  ly  -  ing  'round  our  lib-er   -    ty: 


JU<L 


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a        band        of        broth  -  ers      joined,    Peace      and      safe   -    ty         we        shall      find. 


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168 


MUSIC  AT  SIGHT. 


Exercise  154.     Never  Forget  the  Loved  Ones.     Moderate,  m,  p,  mp,  ores.,  pause. 
Moderate,   m   , 

— nH — 


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1.  Never  forget  the  loved  ones,  The  dear  old  friends  at  home;  They  watch  and  pray  to  greet  thee,  No  matter  whence 

thou  come. 
2.  Ever  the  same  warm  longing  For  him,  their  darling  boy  ;  The  same  pure  love  so  tender  That  naught  can  e'er  destroy. 
3.  Never  forget  the  loved  ones,  Though  far  thy  feet  may  roam  ;  Keep  them  in  sweet  remembrance — Thy  mother, 

friends  and  home. 


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'Mid   sor-rows  and  be-reave-ments,  Whate'er  thy  fate  de  -  cree. 
All.    who  could  then  forgel     them,  The  <in  -  ly  ones  found  true? 
And  should  kind  heaven  wfll     it       To    see  their  face  no     more. 


Ev  -er  the  hear-ty  wel  -  come,  The 
Nev-er  for-get  the  loved  ones  Who 
Look  for  their  joyful  greet -ins       On 


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same  true  love  for  thee.  ") 

ev-er  think  of  you.         >  Never  forget,    never  forget,  never  forget  the  loved  ones;  None  are  more  kind  and  true, 
yon  bright  heavenly  shore.  1 


PRACTICAL  DEPARTMENT. 


169 


Exercise  155.     Life  let  us  Cherish.     Andante,  mf,  vivace,  D.  C.,  fine  and  pause. 

Andante,  mf  __  ,  |N 

« N   i    I  ,- — — g » —      — i —       — ■= :— i — i^* \ — i 


-SESEE 


-*— s— «- 


Life 


let 


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'ret      pluck     ere    it    close. 


Why  are    we      fond      of      toil  and  care.  Why  choose  the  rank-ling 
When  clouds  ob-soure  the    atmosphere    And  fork -ed      light-mugs 
The  ge  -  nial     sea  -  sons  soon  are  o'er ;  Then  let    us,     ere       we 
A  -way  with    ev    -    'ry     toil  and  care,  And  cease  the    rank -ling 


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thorn    to    wear,  And  heed-less     by      the      li    -    ly   stray,  Which  blos-soms    in  our 

rend     the    air,  The  sun      resumes      his     sil  -  ver   crest.  And    smiles    a    -  dorn      the 

quit    this  shore,  Con-tent-ment  seek:     it      is      life's   zest,  The     sun  -  shine    of 

thorn   to    wear;  With man-fnl  hearts  life's  con  -  diet  meet   Till    death  sounds  the 


tm 


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170 


3IUSIC  AT  SIGHT. 


Exercise  156.     Silvery  Echoes.     Glee,  semi-chorus,  chorus  and  echoes.     Allegretto,  f,  pp.  mf.  ff. 


■3-Sn— I*- E-fc-^-r-  -r— K -. -*       <"1   J.2'. ^       N  is     _^l3-3 

— 4=J— 3 — — ^-^-ES — J — J— Ed — J — fcz:*— Ei(— s — i £3:=* — * — sEEjEEfctq^d 


Allegretto. 


,     (O-ver   all     our     hap  -  py  land.  Up  from  many  a    youth-ful   band,) 


i  To  our  Fa  -  tiler      in   the   skies 

I  We  have  learned  from  teachers  dear  Words  of  wisdom,  love  and  cheer :  ) 


Hark  what  hap-py    son  -  nets  rise. 


I  Now  we  come  with  songs  of  praise 


J  And    our  grateful    anthems  raise. 


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Semi-Chokus. 

Praise     him ! 
*    Grate-    -    fill, 


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Fine. 


I  '-. 


12. 


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Chorus  axd  Echoes. 

1 


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(  Praise  him  !  praise  him  !  sweet  the  song  Silv'ry  echoes  shall  prolong 
\      Grateful,  grateful  songs  of  love 'Mid  the  sun-bright    . 


1 


Sil-v'ry  ech-oes   meet, 


hills  above. 


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D.  s.  Semi-chorus. 


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Echoes  sweet,  [.EcVioes.]  Echoes  sweet.  fJEc/ioes.] 


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PRACTICAL  DEPARTMENT. 


171 


m 


Exercise  157.     The  Last  Rose  of  Summer.     Ad  lib.  and  pause. 
Indantino. 


« 


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1.  Tis  the     last      rose    of  summer       Left      blooming  a 

2.  I'll     not  leave   thee,    thou     lone  one,     To         pine     on  the 

3.  So  soon      may      I  fol  -  low,     When    friendships      de 


lone,     All  her     love  -  ly       eoni- 
stem;    Since  the  love  -  ly        are 
cay,     *knd  from  love's  shin  -  ing 


BeIeE 


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pan  -  ions 
slecp-iug, 
cir  -  cle 


Are 

Go 

the 


fad    - 
sleep 
gems 


I 
ed 

thou 
drop 


and 
with 


gone ; 
them  : 
wav  : 


No  flower 
Thus  kind  - 
When    true 


of 

ly 

hearts 


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I 
lie 


kin  ■ 

scat 

with 


dred, 
ter 
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Thv 

And 


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Ad  lib. 


9-1- 


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rose  -  bud        is  nigh,  To    re  -  fleet  back  her    blush  •  es        Or 

leaves  o'er      the  bed,  Where  thy  mates  of      the       gar  -  den       Lie 

fond    ones      are  flown,  Oh,         who  would  in    -    halt  -  it         This 


t=t=t 


* 


give       sigh       for  sigh, 

scent  -  less       and  dead, 

bleak  world       a      -       lone? 


-\=t 


172 


MUSIC  AT  SIGHT. 


Exercise  158.     The  A,  B,  C. 
Allegretto. 


Lesson  song 


iM 


4- 


j=t 


-N N- 


The      A,  B,  C  is  pleas  -  ant      to        me; 
I'm  glad  to  know     the  line          lit   -  tie       row- 
It         I  can  fix       these  marks  twen  -  ty  -    six 
The  bees  and  .flies      have  nice         lit  -   tie     eves, 


I'm    learn  -  ing  it 

Of       let  -   ters  both 

Once     in     -    to  my 

But     nev  -    er  can 


all 

great 
care 
read 


the 
and 
less 
like 


day: 

small ; 

head, 

me; 


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When 
The 
I'll 
They 


-  ev     - 
D, 

read 
crawl 


er 
E, 


on      the 


1/      V 

look       in       a  pret  -  ty  sweet   book,     I      see  nothing    but  A,  B,        C. 

G,         and    the        M,     N,      O,         P,      And  the  V,      X,      Y.  Z,  and     all. 

book     just     as  soon     as       I       look      At     the  let  -  ters    all  o'er  it     spread, 

hook,      and  they  anx-ious-ly      look,  But  they'll  nev  -  er  know  A,  B,        C. 


m: 


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Choru.'- 

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Repent, 

humming,  pp. 

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Sing 
Sing 
Sing 
Sing 

A, 
A, 
A, 
A, 

B, 
B, 
B. 
B, 

C, 

c, 
c, 

c, 

-f- 

sing 
sing 
sing 
sing 

-#- 

A, 
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A, 

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B, 
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Y, 
B, 

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And 
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see 
see 
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will 

noth  •  ing 
noth  -  ing 
let  -  ters 
nev  -  er 

I       J" 

1 

but         A, 

but         A. 

all         o'er 

know       A, 

■a-       -*- 

\   r 

B,       C. 
B,       C. 
it    spread. 
B,       C. 

m 

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PR  A  CTTCA  L  PEP  A  R  TMENT. 


173 


Exercise  159.     Cold  Water  for  Me.     Temperance  song. 
Allegro.  K        .  _J_ 


1.  Cold    wa  -  ter,  cold  wa  -  ter  for 

2.  I'm  sure  that  there's  noth-ing  can 

3.  Nor     am        I      a  -  lone      in   my 


give 

choice 


There's  nnth  -  ing  so   pure     and    so  free  As 

The  strength  which  we  need  while  we       live  Like 

There's  man  -  v    an    eeh    -    o  -  ing       voice  Will 


=3^i 


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good  cold  wa  -  ter, 
pure  cold  wa  -  ter, 
praise  cold     wa  -  ter, 


-^    *        0- 


m 1 1— 

good  cold  wa  -  ter. 
pure  cold  wa  -  ter. 
praise  cold  wa  -  ter. 


I'll    go        to  the  brook    or  the       spring,       And 
And  quick  to  the  brook    or  the       spring        I'll 
We'll  run    to  the  brook  and  the       spring,      And 


m 


lfc±t= 


m 


•- 


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i    i 


o  -  ver  its  hub-hies  I'll  sing,  Cold  wa  -  ter.  cold  wa  -  ter  for  me.  Cold  wa  -  ter.  cold  wa-ter  for  me. 
hasten  and  mer  -  ri  -  ly  sing,  Cold  wa  -  ter,  cold  wa  -  ter  for  me.  Cold  wa  -  ter,  cold  wa-ter  for  me. 
o  -  ver  their  bub-bles  we'll  sing,  Cold  wa  -  ter,  cold  wa  -  ter   for     me.  Cold  wa  -  ter,  cold  wa-ter   for    me. 


m 


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174 


MUSIC  AT  SIGHT. 


Lessons  XXVIII,  XXIX  and  XXX. 

Exercise  160.     Nita  !  Juanita  !     Duct.     Allegretto,  ritardo,  a  tempo,  grace  notes  and  turn. 
A  tteqretto. 


1.  Soft 

2.  When 


o'er  the    fountain 
in  thy    dreaming 


Ling'ring  falls  the  southern  moon; 
Moons  like  these  shall  shine  again, 


Far 
And 


o'er  the    mountain 
davlight  beam-  iug 


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Breaks  the  day  too    soon. 
Prove  thy  dreams  are  vain, 


S=j 


— s- 


-«-4~  • 1- 

In  thy  dark    eyes'     splendor,         Where  the  warm  light  loyes  to  dwell. 
Wilt  thou  not,    re  -     lent  -  ing,  For  thine  ab  -  sent    lov  -  er   sigh, 

-*- 


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Wea-ry  looks,    yet 
In  thy  heart    eon 


ten 
sent 


der, 


Speak  their  fond    fare  -  well. 
To      a  prayer   gone    by  ? 


Ni 
Ni 


-I 


*=* 


m 


zm 


ta  !      .Tua  -  ni  -    ta  ! 
ta  !     Jua  -  ni  -    ta  ! 


*  Pronounced  Wuh-nee-ta. 


PRACTICAL  DEPARTMENT. 


175 


Bz    b     fe  «i 


^— R— n — 

-•-•     -#-    -0- 


C? 


Ask   thy  soul       if    we  should  part. 
Let    me   lin   -    ger    by  thy  side. 


Ni    -    ta! 
Ni    -    ta! 


Jua-  ni    -    ta  ! 
Jua-  ni   -   ta! 


Lean  thou  on         my  heart. 
Be    my  own      fair  bride  ! 


^== 


2- 


F=t= 


Exercise  161.     Bright  Little  Star. 


I 


=* 


ES 


:3t4=3 


r 


i=»: 


T5l- 


1.  Sweet      lit  -  tie    star,    Shining      in    the  night,   Ev  -  er    twin-kle 


In    vour      sil 


ver      light. 


Beau    -    ti  -  ful   stars,  Bright  as  an  -  gel  -  eyes,     To  yon  heav'nly  home       I    shall    soon        a    -    rise. 
Soft       beam-ing   star,  Pure  and   sil  -  ver  light!  Pur-er      I     shall    be  In     my     robe         of      white. 

■#-'-(=-'     -f-      -r«-       -     --r*-      ■*■  .-  J 


§53= 


£=£ 


M: 


a 


=p=g= 


=P=P: 


fi:S 


Chorus.  is. 


§ 


^ 


SH 


a 


=*=3==# 


r 


-&—* 


' — * — *~ 


But  brighter  than  the  stars  That  gleam  in  the  night,   I  shall  shine  some  day      In    yon    realms    of    light. 

I      ^     *     -^        IS  I 


?=r= 


-^ 


7 — <-m-z — m — »- — « 


-fct— t- 


176 


MUSIC  AT  SIGHT. 


Exercise  162.     A  Rosy  Crown.     Solo  with  instrumental  accompaniment  and  chorus.     Grace  notes. 


Solo. 


i 


-^^EE^d^3^h^dS^^^^U^M=-f 


1.  A        ro    -    sy  crown  we      twine    fur  thee  Of       Flora's  rich-est        trea  -  sure ;  We      lead    thee  forth  to 

2.  We     bade    the    fair- est    flowers  that  grow  Their  va-ried  trib-ute       ren  -    der,    To      shine     a  -  hove  that 

3.  Then  deign  to  wear  the    wreath  we  twine,  Thy  beauteous  ringlets    shad  -  ing,  And      be       its  charm   a 


Instrumental  accompaniment 


«" 


Chorus,  soprano. 

4 


\jn\.>i\vri.   soprano,     i  i  •> 

fr_4Jfc.-e8-E-_Et-|l-r    R  S!    asm^a .-^      I.J.     k-fr-fr-fe-E-^i-E — ci^-n 


Alto. 


»*  »    r 


dance  and  glee,  To  mirth  and  youthful  pleasure.  1    I  Take,  0  take  the    ro  -  sy,  the  ro  -  sy    crown, 
brow      of  snow  In    all  their  sun  -  ny      splendor.  >    j  Take,  O  take  the    ro  -  sy,  the  ro  -  sy    .     .     . 


type       of  thine  In     all  ex  -  cept  its         fad-  ing. 


Tenor. 


*--v- 


-F» — • — rf 


mm 


Bass. 


UpB 


-v — v- 
-9—9- 


-^ 


PR  A  OTIC  A  L  D  EPA  R  TMEN  T. 


Exercise  163.     God  Speed  the  Right.     Unison.     Four-part  song  and  duet. 
Tenor.  s,  t 


m 


#EE 


N 


>^-> 


-^ — l 


I 


KS      I 


-0—  -0- 


,M       i- 


H 


1.  Xow  to  heav'n  our  pray'r  ascending.  God  speed  the  right :  In   a   no-ble  cause  contending,  God  speed  the  right : 

2.  Pa-tient,  firm  and  per-se-ver-ing,  God  speed  the  right ;  Neither  wrong  nor  danger  fearing,  God  speed  the  right ; 

Soprano.        h.  ty 


.  -  I 


Alto.  V.      V         V  V       V         V 

3.  Still  our  onward  course  pursuing,  God  speed  the  right ;   Ev  -  'ry  foe  at  length  subduing,  God  speed  the  right 

Bass.  -0-  -p. 


#=fc^ 


I 


ZfZL 


» 


I 


Be  our  zeal  in  heav'n  recorded.  With  success  on  earth  rewarded  :  God  speed  the  right.    God  speed  the  right. 
Pains  nor  toil  nor  trials  heeding,  And  in  heaven's  good  time  succeeding ;  God  speed  the  right.  God  speed  the  right. 

*       I 

zfczfc 


M       J.Uj      ; 


il 


T^     N  ~i 


ips 


=^=2 


3 


Truth  our  cause ;  whate'er  delay  it,  There's  no  pow'r  on  earth  can  stay  it ;  God  speed  the  right,  God  speed  the  right 


m 


£ 


n •  -— #- 


178 


MUSIC  AT  SIGHT. 


Exercise  164.      Keep  Step.      Exercise  song. 

Note.  Singers  march  and  countermarch  to  the  music,  using  the  motions  suggested  by.  the  words.    Remain  standing  during 
the  singing  of  the  parts  requiring  the  motion  of  hands,  crosses,  etc. 

*— I 1-  -I—! : : 1 : i.  i    K Nr-Hs A-l =■ 


:4^ 


« 


^m 


±=M 


:=)= 


:i   . 


jt±i 


*= 


:*-«r 


±~* 


9      * 


&E* 


1.  In  the  pathway  here  below  Keep  step    to    the  right ;  Whe.re-so-ev-er  yon  may  go,  Always  hon  -  or  bright : 

2.  What  if  dangers  lurk  around.  Keep  step  to  the  right ;  Though  temptations  may  abound,  Always  honor  bright 

3.  Be  your  du-ties  great  or  small,  Keep  step  to  the  right ;  You  shall  overcome  them  all.  Always  hon  -  or  bright : 

-0-.     -0-0-.      M      _     .    -0~  -0-.     -0--0-         _   .      M       -#-_.     -f-~f- 


1 


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— i — i — i — -j- 


— ^— d— 


£££ 


-tr-rV 


^£=£=^ 


*     • 


-*-»- 


Lifting  your  hands  to  quell  the  wrong.  Tuning  your  lips  to  merry  song.  Sweetly  the  strains  prolong,  Standing 

Trials  and  cross  -  es    in        our  way  Must  be  encountered  day     by  day  ;  Meet  them  without  delay,  Stand-ing 

Faces   so  bright  with  joy  and  peace.  Hearts  overflow  with  love  and  grace,  Busy  till  life  shall  cease.  Standing 

+■+-■*•'+■• --p^f:--g:-f:-t-^---gi-f^--g:--r  ,f--t^£^ 


fj  ■*■  -#-  -0-  *  -0-   r^         -*-  -*■ 


for     the  right.  Keep  step,  keep  step,       Ev  -  er  pur-sue  the  right ;  Keep  step,  keep  step,  Always  hon-or  bright. 


£="&: 


T~r 


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■p-p-tr-|?- 


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PR  A  OTIC  A  L  DEPA  B  THE  XT. 


179 


Exercise  165.     Speak  no  111.     Duet  and  chorus  in  quadruple  measure. 

I 


fefcE 


^=\~^- 


^J: 


i 


A— V-h- 


*3 


If    from    many    a   snare   or     sor-row  You  would  fain  be    free, 
Words  of    kind-ness  gent-Iy    spok  -  en  Peace  aud  joy    im  -  part ; 
Speak  no   ill,      and  half  tlie    sad-uessOf   thy    life   will   flee; 


m 


While  you're  sail-ing  o'er  life's  o  -cean 
Sym  -  pa  -  thy  and  good-ness  ev  -  er 
Speak  no    ill,   and  joys  unnumbered 


* 


1= 


r. 


T- 


14= 


4 


Chorus. 


i=«L_j  ]i^=     *  1 1±± 


Si 

.a ft 


azza: 


Let  your  mot  -  to         be  : 
Touch  the  callous     heart. 
Thy   re  -  ward  shall    be. 


-  Never  speak 


11     of   a    friend  or    foe,       But  scat-ter  kind   words    wher- 


iSE^EE 


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1/     i/ 


=W^h 


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ev-  er  you    go.     Nev-er  speak  ill,   aud  be    ready  to   give    The  same  as  you  would  from  others     re  -   ceive. 


I       I 
Zp «_ 


i   i   i 

_» m m 

\t    1/    i 


-£- 


"h — hr- 


Li — t — r- 


V— l— L 


^- 


1 


180 


MUSIC  AT  SIGHT. 


Exercise  166.    Home  Again.     Da  Capo  and  fine. 
i—0 — b — r 1 1* — 1 — i — i \— J k-r-l-                   — *- 

7^'  4-    -l, J    ^    H -p-j  .    i 

Tl    •       j      J * 

— 1 

FV- 

— 1 fV- 

— ft fV- 

ft 

<fl)  P4    d  :   gg    d  :   g  3-  »— 

-*-= — 5 — 5-; — • — 

—&— r 

J 

-•-:     d- 

•      J 

J 

-« 

tv 

I : — g — 

£J    • 

/ 

m 


1.  Home  a  -  gain,  home   a  -  gain        From     a    for-  eign   shore;  And  oh! 

2.  Hap-py  hearts,  hap-py  hearts  With  mine  have  laugh 'd  in  glee  :  But  oh! 

3.  Hu  -  sic  sweet,  mi  -  sic  soft,         Lin  -  gers  round  the  place,  And  oil ! 

-«-  •     -0-  -*-  . 

—t^—r 


it     fills    my  soul  with 
the  friends  I    loved  in 
I     feel     the   childhood 


fr-4- 


K 


.-12- 


^ 


Fixe. 


m 


^ 


^ 


^t- 


^r- 


■*~ 


*-— 


joy  To  meet     my  friends  once  more, 

youth  Seem  hap  -  pi  -  er         to         me; 

charm         That  time  could  not      ef  -    face. 


Here        I  dropped  the  part    ■ 
And     if  my  guide  should  be 

Then  give      me    but        my  home 


ing  tear         To 
the    fate     Which 
stead  roof;      I'll 


-S>- 


■&- 


3=t 


m 


tiEEfe 


T 


i2 


1 


mm 


-A FN (V 


zJ 


i5=«!: 


cross    the     o  -  cean's  foam, 


bids 


long  -  er      roam. 


ask        no    pal  -  ace 


dome, 


But  now    I'm  once  a-gain  with  those      Who  kind  -  ly  greet  me 
But  death  a-lone  can  break  the  tie        That  binds  mv  heart   to 

at 


For 


can  live  a   hap-py 


life 

I 


With  those    I     lovs 


I 

home, 
home, 
home. 


PRACTICAL  DEPARTMENT. 


181 


Exercise  167.     Baby-Bye.     Glee. 


4^j: 


1.  Ba   -    by  -  bye,  here's  a 

2.  Spots   of      red    dot.  his 

3.  Black  and  brown  is  his 

4.  He      can      eat    bread  and 


OF-E 


e^*= 


fly ;    We        will    watch 
head,  Rain  -  bows       on 
gown ;  He        can      wear 
meat.  There's  his    mouth 


:tr 


=f= 


_)2_ 


:z5zd 


t       *  "-5-" 

him,    you       and         I.     How        he  crawls 

his  wings      are    spread  ;  That  small  speck 

it      up    -    side      down:  It          is  laced 

be  -  tween    his        feet.    On        his  back 


1 


n 

1 

1 

1 

1 

V  i 

q 

| 

| 

"   ! 

i                 » 

| 

fk±- 

1 

— d — 

— « — 

«— 

j 

-J — 

1 

-=•*- 

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m 

0 

— j| — 

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££— 

~i 

~~ 1~ 

— f— 

• 

—*— 

5 

J 

g  . 

FS 

— 0 — 

• 

— 0— 

zr 

up 
is 

round 
is 

-0- 

the 

his 

his 

a 

■f- 

walls, 
neck, 
waist, 
sack 

-*• 

Yet 
See 

I 
Like 

-•- 

he 
him 
ad  - 
a 

f" 

nev 
nod 
mire 
ped   - 

-0- 

-     er 
and 
his 
ler's 

0 

1 
falls ! 
beck ! 
taste, 
pack. 

i 
i 

Pret   - 
Does 

-•- 

be    - 
can 

ty 

the 

-0- 

lieve, 
show 

as 

ba 

-0- 

with    those 
you,      if 
his  clothes 
by       uu    - 

-•-       -0- 

six 

I 
are 

der 

-0- 

legs, 
choose, 
made, 
-  stand? 

<i«V 

L        i         i 

S§     •                   1! 

[W- 1       1 

r  • 

_r_ 

K>b 

m 

I. 

m 

■ 

r 

'•'      I 

1                   ! 

1                1  i           1           i — 

1            1 

1 

1 

r 

1 

1 

m 


«= 


i± 


You 


and        I      could  walk     on    eggs.    There  he      goes   on      his      toes,  Tick  -  ling    ba  -    by's  nose. 


Where    to      look     to      find     his  shoes — Three  small  pairs  made  of  hairs;  These  he        al  -  ways  wears. 
He        will     spoil  them,  I'm       a  -  fraid.    If        to  -  night  he      gets   sight  Of        a         can  -  die  light. 
Then    the     fly    shall    kiss    her    hand.  Put    a    crumb  on     her  thumb ;  May    be      he      will  come. 


3± 


■42- 


pr 


-&-  -0 


J= 


-§      T 


H 


182 


MUSIC  AT  SIGHT. 


Exercise  168.     See  Them  Standing  All  in  a  Row.     Exercise  song. 

Note.  Place  the  singers  in  rows,  in  regular  order  according  to  size,  to  represent  trees.     Heads  are  the  tree  tops,  arms  the 
branches,  bodies  the  trunks.    The  motions  to  suit  the  words  at  the  proper  time  "will  make  this  song  very  effective. 


ffrrr'j  \rnn 


m 


q=d- 


±=jz 


q= 


1.  See   them  standing  firm -ly    plant-ed,  Rows  of  beau  -  ti  -  ful  trees ; 

2.  List!  the  wind    is   loud  -ly  moan-ins,  Lifting  branches  up  high. 

3.  Now  the  trunks  are  bending  low  -  lv,  While  the  branches  vou  see 


Now  the  tops  are.  gent-ly  wav-ing, 

To   and  fro,   oh  !  see  them  waving 

Hither,  thither,  bending,  twisting, 


.0.  .0.  .0.  .0- 

I  I 


-fc:*- 


I  I 

Choeus. 


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t* 


0 — 0 — 0 — 0—r0 — • — 0 — 0 — . 


§ 


=t 


-fc— & 


:d=J=i: 


3 


<?■■ 


^e_ p— £— 


Kissi'd  by  the,  whisp'ring  breeze. 
While  it    is  sweep-ing    by. 
Hap  -  py  and  proud  and  free. 


1   r  r  r 

See    them    stand  -  ing 


.-     U 


I  I 


=r=P: 


u    u 


all       in     a  row  :  How  they  wave  when  the 


4=tzt 


F— S- 


-PZ- 


^ 


_ta. 


1 


-1-r-l 


V 


r~r 


1 


F=f 


wind  does   blow!  Kissed  by  the  whisp'ring  zeph  • 


m 


-PZ- 


:t=t 


±= 
-PZ- 


±= 

-IS — 


:2 


^ 


T 


± 


3t= 


J 


r   : 

now,  See 


-pz- 


— •- 


c  c 

all  the  tree  -  tops    gent 

-4 


T    r 

-    1  v      bow. 


I 


mmm 


PRA CTICAL   DEPARTMENT. 


183 


ercise  169.     Busy  Bee.     Exercise  song. 

fflE.  Let  one  of  the  class  be  the  busy  bee  passing  among  the  flowers,  represented  by  a  number  of  little  children  arranged 
■riatform. 


.    Always  pause  when  called  by^he  iirst  voice.    A  fine  effect  is  produced  by  all  the  scholars  joining  in  the 


FlR; 


t  Voice. 

— ^ — ,— 


Secoxp  Voice. 

i, — \ — k_ 

XL  N 


* 


1 


-*- 

Bu  ■ 

Bu  ■ 
Bu 


sy  bee  !  bu  -  sy  bee  !  Where  are  you  go  -  ing 
sy  bee  !  bu  -  sy  bee !  What  are  you  do  -  ing 
sv    bee!  bu  -  sv    bee!  Whv  nev  -  er  rest -ing 


& 


•54 


?  Af  -  ter    the  flow  -  <;rs    so    pure  and  sweet, 

?  Toil  -  ing  and  gath-er  -   ing  here  and  there, 

?  Time  for    the  rest  -  ing  comes  by  and     by; 

-fr: 


*  ■- 


m 


Choktjs. 


mm 


=f5= 


JV^N- 


-A— ^ 


Find- 
Work 
Bu   - 


ng  their 
ing  and 
sy   time 


pet 
rnak- 
uow 


-  als    a     safe  retreat. "j 

-ing   my  home  so  fair.  ■  Sipping  the  nee  -  tar  while  we  may,  Working  while  last 
for    you    and  I.    J 


eth 


i^ 


t=i=t 


-• — #-=-  -• — • 


-• #-= e » 


care. 

» 1     » 
m   • *_ 

:| 1- 


life's  brief  day  :  Culling  their  treas- tires  rich    and   rare.  Hap  -  py    and      fit 


m 


-V V ? T" 


i 


184 


MUSIC  AT  SIGHT. 


Exercise  170.     Something  to  Do.     Work  song. 


3=*=£ 


3=S= 


1.      J 


■XT 


1.  There's  work  for  the  hand  and  there's  work  for  the  heart, 

2.  The         sick  must  be  soothed  and  the  hungry     be     fed,  Something   to     do, 

3.  The        Master  says,  "Work,"  and  has  led  us    the   way, 


Something  to  do, 
Something  to  do, 
Something   to     do, 


Something  to 
Something  to 

Something  to 


i^3£ 


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i-Li— i  jrj. 


:i=t^=5: 


r 

do, 
do, 
do, 


And  each  should  be  bu  -  sy  per-form-ing  his  part, 
Thenak-ed  be  clothed  and  the  err  -  ing  be  led, 
He  savs,  "  Not  to  -  mor-row  ;  the  time    is      to-  day," 


Something  to 
Something  to 
Something  to 


Something  to  do. 
Something  to  do. 
Something  to     do. 


Hfe» 


f- 
Chorus 


_« — » — « — m — «_tfc_« — m — * JS=T — p 


rvvtr 


t=t=t=t 


t=tr 


Qtt  S-r — IV ^ k K N N-rJ 1 P 1 vi — N S In fc * \-i— |— 


i  Work  for    the     ag  -  ed    and  work  for    the  voting,  |    w    ,    ,. 

i  Work  for    the    fee  -  ble  and  work  for    the  strong,  [     "O1^1"1    us 


all    and    ex  -  cus  -  es      for  none, 


i m—U V — * — J- — ^ — * — W — * * — I J h b h 


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,       _.    We  call  your  particular  attention  to  the  following 
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t    PUB'    SHER3, 


•V,W    **^- 


a 


P^RF,   ?*A.   v- 


MJNISTERS  Or   THE  GOSPEL  SHOULD  'JaE 

ORDER,  &  BROTHER'S 
PHOTOGRAPH  MARRIAGE  CERTIFICATES. 


So. 

'  1. 

2, 
3. 
4. 
5. 
6. 
7. 

a'. 

9. 
10. 

11. 
'3. 

14. 

ft 

11. 
16. 

l*. 

20. 

a. 


We  furnish  the  followfny  styles,  viz : 
Oak  and  Vine  Photo.  Marriage  Certfs, 
Cedar  aifa  Vine   " 
Three  Places  '     " 

ft  ts  u 

Marriage  Scene   " 
Olive  Branch        " 


Llthosrraph  Marriage 


(New) 
(Large) 


Em   lc-pe  =' 

Printed  .  il 

PI<oto.  Family'  Records,  ■  ■  .  f 

■i  ..  it 

Birth  anc".  Baptismal 

Baptism;"]  " 

Col  irmation  " 

Orange  Blossom,  2  Photcs  " 

3       ..  .. 

P-sss  " 

i  auge  H'essom,  2  Photos.,  cabinet,    . 
Voyage  of  Life,  without  Phonos.,     .  .  .  , 
Sabbath  School  " 

Gates  Ajar, (>'«r.)  Spec, 

Bongs  of  Love  and  Praise,       "         " 

Notes  of  Victory '• 

Notes  of  Triumpi-. "         " 

"Song  Treasury,'' " 

'Silviry  Echoes,".      " 

The  "Lord's  Prayer,"  ir'ustrated,) .  . 
Seward  C^rds,  ail  prices. 


Plain $6  00 

Colored,    .  ^  .  8  00 

Plain 0  CO 

Colored,  ...  boo 

Plain, 6  00 

Coloured,       .  .  8  00 

(!  00 

Plain, S  60 

Colored,    ...  4  80 

....       .   .  1  50 

200 

1  85 

SB 

Plitin, 6  00 

Colored     ...  7  00 

.......  2  u0 

1  00 

1  oo 

12  O0. 

12  00 

a  oifr. 

12  no 

12  00 

3  00 

Copy  85  cts., .  3  M) 
"  35  "  .  3  60 
"  35  "  .  3  00 
"  35  ••  .  3  TO 
'  "  35  '•  .  S  60 
•'  20  "  .  240 
.  .$2  00pcr:<\r. 


&B~  Any  of  the  above  will  be  sent  by  mail,  prepaid,  without 
lnj  ary,  on  receipt  of  price  annexed.     ' 

*S*  Any  one  v/bo  intends  acting  as  Agent,  will  be  f-urfi, 
v.'ih  f  "•(.»,  ctc.j»» applicative.   «®- Moueysbonld  oniy  L>«  s- 
by  so;  jc  sa    j.'irethod.     Address  all  orders,  i  '.ii'n:y, 

IDER  &  BROTHER,  York.  Fa. 


^~  -' JF     -S*5 


J 


